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Yoga for Personal & Social Development in Greece -- Lecture by Prof. Bharat Gupt

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Yoga for Personal & Social Development in Greece
Lecture
by
 Prof. Bharat Gupt

SHANTOM CENTRE, Athens, June 6, 2015

            Lida Shantala, director of Shantom, introduced Prof Bharat Gupt as a friend of the Centre, a classicist, lover of Greece, expert in ancient Greek and Indian theater, and a scholar of Indian philosophy and religion. As Prof. Gupt spoke in English, translation was provided by Ms. Irene Maradei. Lida also thanked the Indian Embassy for its participation.

            Beginning his talk, Prof Gupt said that he was extremely delighted at having this chance to speak at a Centre established in the memory of Smaro Stefanidou, a famous Greek film and theatre actress and Lida Shantala’s mother. He said, that speaking on Yoga at an artisitic Centre, rather than a religious venue, was more valuable, as art is usually more creative and all-embracing, whereas religio-centricity sometimes declines into conservatism. This Centre celebrates the lifelong dedication to art by Smaro Stefanidou and Lida Shantala, and is thus, a place of special significance. Yoga, he said, is also an art. In ancient times, in both Greece and India, there was no dividing line between humanities and sciences, and both were categor-ised as episteme or vidyaa.

            He started with recitation in Sanskrit of an invocation by the ancient Indian poet Bhartrihari,
                          
   Dikkaalaadiyanavacchinnaanantachinmaatramuurtaye/
     Svaanubhuutimekamaanaaya namah shaantaaya tejse.

            “I bow to Shiva, to ultimate peace and dynamism, boundless, not limited by time or space; to the Image of pure Consciousness, experienced and known by oneself alone.” 

            Prof. Gupt expounded that in the Indian traditional systems (and this was true of Socrates in Greece as well), knowledge is validated by self-experience only; not through a scripture, a teacher or a prophet's words or any material inference. Actually, knowing Truth through physical, mental and higher conscious-ness, is YOGA. The asanasand pranaayama are the physical level, the channeling of the mind is the psychic level, and the knowing the Ultimate through consciousness is the final level as mentioned in the verse just recited.

            If one is to look for a definition of Yoga, the best is to be found in Patanjali,

Yogah chittavrittih nirodhah.”

            This is not to be translated as “Yoga is control of mind”, as is often done. Yoga is an unfolding or experience of the true nature of Consciousness. It is through Consciousness that one becomes aware of the body and the mind. TrueYoga, therefore, is channelling of the physical, of the mental and of consciousness, to its final destination. Yoga is certainlynot asanas or postures only. The purpose of Yoga is not to have merely an attractive and healthy body. If that were so, Yoga would be no different from swimming or eurythmics. We have to see the totality of Yoga at all the levels.
           
            Yoga is also not to be seen as a method of control which means doing certain things and stopping with it. It does not mean doing this and not doing something else. Yoga is actually channeling of your total self towards a journey. It is a journey to good physical health, mental health and stability and to opening up of the consciousness to the total Cosmos. Yoga, therefore, is just about everything.
Hence in the famous text the Bhagavadgita, it is said, that Yoga is doing all our activities with the highest skill. “Yogah karmasu kaushalam.” Yoga is doing the best in every human sphere of action.

            A Yoga follower is not an ascetic, nor a recluse, nor is she or he, exclusively devoted to spiritual concerns. One is most thorough in doing all things with highest efficiency. It is living life in all its completeness, with all its travails, troubles and challenges. That is the reason why Yoga is not merely a theology. There are many controversies at present regarding Yoga. It is often asked if Yoga is merely a Hindu pursuit. Can  Christians or Muslims practice it? Would they cease to be Muslims or Christians if they do so? There are theological wars going on around this question. But if you experience Yoga as I explained it to be, there cannot be any controversy. Every human being has a body, a mind and a consciousness which he transcends if he wishes to go beyond the conventional and wants to experience the Cosmos. Yoga is an exploration and an experience and not a set of doctrines.

            This brings me to central question of this lecture. Can Yoga be used for combating the hard times that Greece is going through now? If you see the vastness of Yoga, you will realise that it becomes an instrument for facing all the problems and trepidations that we face in our lives. Yoga then is for those who are in difficulties and for nations in difficult periods.

            How should then pursue Yoga? Should it done with a limited aim? It cannot be done with a single aim. Yoga offers to solve all the problems of life. It does provide you a healthy body, a mind which can face the challenges of daily living, and above all Yoga makes you aware that there is a reality beyond body and mind.

Some theologies are disturbed by Yoga for a simple reason. Every theology that does not accept the totality of existence but insists that “my God alone is true,” or that “my prophet alone is the messenger of  God”, or that by following a particular Saviour alone one shall not walk in darkness any more, feels threatened by the exploratory nature of Yoga.  It is not for theological differences that Yoga is threatening to such doctrines. It is so, because Yoga expands the heart and the mind and is all inclusive. It reveals through self experience and personal testimony and not through stated dogmas regarding the truth of religious experience.  It makes you decide yourself about the diversities and differences in the Universe and how to deal with them by self experience and not by doctrinal submission to the 'revealed' words of others.

            Yoga is the best practical way of living through hard times. However, the ground needs to be prepared before starting the practice of Yoga.  In the classical systems of Indian thought this preparation was called   as submitting to Yama and Niyama. That is, to create and sustain certain attitudes and practices. Briefly speaking, it is pursuing a life of hard work, not desiring the wealth of others, maintaining a life of discipline though not of asceticism.   For a serious and determined person on the path of Yoga, being an ascetic is not a requirement. Countless sages and yogis in India have set the example of being  stationed in their worldly lives and duties while being at a high level of yogic knowledge.

            Yoga, therefore requires, some kind of a restraint and refraining from aggression. It should not be very difficult for this audience to understand these are the same as the preconditions for artistic activity. If an artist is hateful or destructive, or angry and unforgiving, he or she cannot create great art. The same is true for Yoga.

            So where do we begin? There are many prescriptions, but more than them, it is your own search which is going to tell you where and how to start. The needed frame of mind for Yoga is non aggression, tremendous patience and then a regimen of the asanas and various exercises. These have to be done under proper guidance. The next stage is control of breath or pranaayama. After a habit of doing these with ease has been developed and fresh energies are seen as manifesting in the body, one starts going inward. Inwardness is an essential activity for any creative person. Again the artists are the best paradigm for a budding yogi.

            Yoga is the beginning of a new art, the art of going within. This is the start of serious Yoga. Very few of us are capable of doing this, just as very few of us are capable of becoming good artists. But even coming close to this condition, helps you attain a good vision of the world, a harmonious way of living with other persons. That is not a small thing. And so, even the mundane results of yoga are spectacular.

            I shall describe what is said to be inward life. It is said that it is essentially a union of the individual self with the whole Cosmos. It is thus that a true knowledge of the permanent reality comes to you.

            The very word yoga means uniting. But we think of Yoga as a cult of exercises. I hope I have succeeded in bringing to your attention the totality of the Yoga pursuit.
Efcharisto para poli.

And now the questions.

Q: (by a Greek poet.). I am very moved and happy to be here. I ask your advice rather than a question. Yoga has a country, it sprang from a certain tradition.  I am aware of the fact that it is not limited to it. But please tell me, for someone who wants to delve more seriously, more in depth into yoga and serve it better, is it advisable or necessary to delve into Eastern philosophy and Hindu religion?

BG: Studying Hinduism will bring its own reward. But even after studying it, there is little chance that one understands Yoga. Nothing shall mean much unless one does some practical Yoga. I can say from my own experience, as I have done music as Yoga (called naadopaasanaa in India). It was only after doing something practical like music that I could understand the meaning of the deep philosophical texts of Hinduism. As any musician knows, music makes you aware of your body as you employ it to create art, and so your mind, and an entire differently way of understanding develops by constant practice. Same is true of Yoga.

Question: What you explained about Yoga seems to be very similar to Zen or Buddhist thought. What do you think?

BG: Well, in my humble opinion there is extremely little difference between what have been academically called as separate doctrines going by the name of Hinduism and Buddhism. There have been political reasons for projecting a big divide between the two but to discuss them is beyond the subject of this talk today.

Question: What is Yoga for Indians, I mean the common persons? For those who do not study or discuss the way we have been talking here? What place does Yoga have in a regular Indian’s everyday life?

BG: Yoga is a very wide term used terms for many kinds of practices. Asanasand pranayama is one part of it though they stand for Yoga in the common mind now. But if Yoga is to be seen as way or journey to knowing the Cosmic Self-experience, then there have to many ways of approaching the Cosmic Truth. So there are dozens of Yogas: Selfless service, social responsibility, lifelong devotion to the pursuit of an art or a science, or even a political responsibility
{laughter}.

Question: What did you say? Politics?

BG: It is surprising to hear this. However, if you take political responsibility in the spirit of total selflessness and with no personal interest whatsoever, it is a legitimate Yoga. Arjun was preached to do that by Krishna, to establish a just kingdom for common Good. Politics can thus be beautiful.
{Laughter and disbelief}.

Question: Do you know of any such politicians?

BG: Yes, many! I have lived in Delhi all my life where all kinds of politicians live, from black to white. If I recall correctly, Plato has said that of all arts, statecraft is the highest art. You make a state for others, not just for yourself to be a tyrant.

Question: You spoke of regular Yoga practice. What does “regular” mean? How often and for how long does Yoga need to be done?

BG The physical part of it is always a regimen but the inner journey is known only to the practitioner. Classical texts use a term called pranidhaana or concentrative determination for progressing in a Yoga journey. Higher and stronger the pranidhaana, better the result.

Question: Sometimes I try very hard to go ahead in my Yoga pursuit but then sometimes I catch myself getting angry or upset - I get very disappointed for not being able to control myself more, following the yamas and niyamas. What should I do?

BG: We are all like that. That is why we need Yoga.

Question: (The poet) Are Yoga and meditation part of life or are they separate or is there a sacred union?

BG: In whatever form or style, Yoga has to be part of daily life.

Question: (by Lida). I like the way you have explained the channelling of energies in Yoga or rather that which is called 'control' in terms of Yoga. It is good that you explained that Yoga is not following a dogma or merely a set of rules but that it requires unconventional thinking and the opening of the mind.

BG: If you would read the lives of great Yogis, you will find that nearly all of them were unconventional and had their own innovative systems and even their rather eccentric style of social behaviour. The very core of Yoga is to think beyond the conventional and to know things afresh. That is why all puritans feel threatened by Yoga, specially by Yoginis, as they break rules.

Q Regarding your expounding of Yoga as channelling of the forces and going within, I would like to say that in the Greek tradition there is a term used for inward exploration called 'endoscopia.'

BG For my info can you tell me in which text is this mentioned?

The Poet: One hundred maxims from the sayings of the Oracle of Delphi.

Q Was Gandhi a Yogi?

BG: I will like to take that up in a separate lecture on Gandhi. I have a very critical view of Gandhi. In my humble opinion, right or wrong, like most social and political thinkers of modern India, Gandhi was cut off from the essential thought of classical India. Gandhi's ideas were rooted in the paradigma of the medieval Hindu devotional movement called Vaishnavism that dominated the medieval times. The difference is the same as between a Byzantine painting of Christ in a monastery and an ancient painting of Apollon on a ritual ceramic vase. I am giving a comparison from Greece for your easy understanding. Gandhi did not belong to ancient Indian thought. My view, many may disagree.

Prof. Vassiliades: I want to say, although influenced by Islam and Christianity, Gandhi revered and constantly read the Bhagavadgita, thus he does havesome connection with ancient Indian thought.

BG: That is why he made a mess of the Bhagavadgita. That is why he told the Jews to surrender to Hitler. We have to reassess Gandhi, Nehru and many of the so called makers of modern India. I have been saying this for 40 years. Most of these modern Indian leaders have been unaware of the real classical Indian thought. Look how Gandhi treated sex, which had little to do even with medieval India. Gandhi, regarding his attitude to sex and women reminds me of some Christian monk of the early centuries AD, who castrated himself. Don't mind, mine is, perhaps, a very politically incorrect view.

Prof.Vasillidaes: Classical India is not just Tantrism. It is also Jain thought which was a big influence on Gandhi.

BG. I agree with you, that there is more to ancient Indian philosophy than just Tantra and the influence of Jain thought on Gandhi was certainly present. However, look at the real spirit of those ideas of brahmcharya (sexual control) and ahimsa (non-violence), which Gandhi adopted from Jain thought. In ancient times, as shown in the texts, brahmacharya was supposed to be practiced as moderation by the householder and total abstinence was for the mendicant ascetic. It was different for different people, in ancient society. Brahmacharya was not abstinence for the householder in ancient thought which rested on the four stages of life and social responsibility. But Gandhi forced abstinence on himself and preached it as desirable for all. Non violence or ahimsa was never pushed to such extreme in classical times, as Gandhi pushed it. All the Jain and Buddhist kings of India had strong and well equipped armies.

            There is a lot of confusion about ancient Indian texts as for the past six to seven hundred years there have been no universities where these texts could have been studied systematically. Now there is a fresh need to understand them, prescribe them, study them at all levels of education, and discuss them again widely.  Then alone we will be able to judge our modern political leaders.


 I thank you all, for coming and listening to me and giving your time this evening. Thank you very much indeed. 

END



Lalit Modi: insider seeks revenge. Narendra Modi should direct his ministers to quit cricket politicking or quit politics -- NOW. Restitute kaalaadhan.

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IPL MESS: SETTING THE CAT AMONG THE PIGEONS

Tuesday, 30 June 2015 | Sandhya Jain |
The way out of the mess Lalit Modi has raked up is to make sitting MPs and MLAs resign from sports bodies. Professional sportspersons should take up the task of purging active politicians from sports bodies in toto
When the dazzling sun of a universe peopled by cricketers, politicians, film stars, corporate and media celebrities, and betting mafias, worsted in a palace coup, stages a comeback but gets cheated of its prize, there is bound to be payback. There is some merit in Indian Premier League creator Lalit Modi’s anger at politicians controlling cash-rich sports bodies. Hence, Prime Minister Narendra Modi has wisely concluded that the misguided magnanimity of External Affairs Minister Sushma Swaraj and Rajasthan Chief Minister Vasundhara Raje towards the former IPL czar does not warrant the resignation of either.
 
Ms Raje signed a letter in the former IPL boss’s support in 2011, but did not appear as a witness in his fight for residency rights in London. Ms Swaraj helped him to travel to Portugal to be with his wife during a risky cancer surgery. The pertinent assistance came from three retired Supreme Court judges who opined that the Enforcement Directorate’s plea to have Mr Lalit Modi’s passport impounded was illegal; that there was no case against him in any court of law; that the ED could have interrogated him in London or via video-conferencing. A senior journalist informed the London court that the Enforcement Directorate seemed biased as Mr Modi alone had been served notice for financial irregularities in the IPL, whereas the actions being investigated were of the entire Board of Control for Cricket in India, especially as he was not the signing authority in any impugned action.
 
Indeed, it was only after this testimony that notices were served on other members. The ED interrogated them and examined all documents in India; it should have been able to file a charge-sheet against Mr Modi. The failure to do so is as inexplicable as the UPA’s refusal to offer him the security he desired in order to return. It must be added that Mr Modi’s return was not a priority of the Narendra Modi Government; he burst on the regime’s radar with a news leak against British MP Keith Vaz.
 
In December 2013, Mr Lalit Modi contested the election for president of the Rajasthan Cricket Association, which suggests he wanted to return to India, but needed a position to ensure his physical security. But the BCCI suspended the RCA under Rule 32 (vii) immediately after the election. Ultimately, the results were declared under Supreme Court observation in May 2014, but the BCCI was permitted to challenge the Rajasthan Sports Act that enabled Mr Modi to contest the president’s post despite a life-ban the BCCI had imposed.
 
The real war is over control of the lucrative BCCI and its glitzy offshoot, the IPL, conceived and taken to dizzying heights by Mr Modi. The main issues concern (1) the South Africa IPL and (2) match-fixing in which N Srinivasan was made to step down by the Supreme Court in 2014. That his successor, Jagmohan Dalmiya, has been found “incoherent” and ‘incomprehensible” by a Supreme Court-appointed committee probing allegations of spot-fixing in the IPL, raises legitimate questions about the BCCI functioning and control.
 
Mr Lalit Modi received 16 show-cause notices from the ED and posted them, with his replies, on his website, lalitmodi.com. A study shows that Cricket South Africa was requested to host the IPL in 2009 after the Indian Government refused permission due to the general election. Together, BCCI and CSA floated an entity called IPL (SA) Pty Ltd.
 
The ED claims this entity was floated only for the purpose of opening a bank account in South Africa, which was effectively an offshore account of the BCCI to receive all payments and settle dues; this violated the Foreign Exchange Management Act as it was not approved by the Reserve Bank of India. The ED also found irregularities in the BCCI’s transactions with the CSA, including in payments to various persons in South Africa during the tournament. Notices amounting to `1,317 crore were addressed to Mr Modi, the BCCI and the then BCCI president Shashank Manohar, secretary N Srinivasan, treasurer MP Pandove, CEO Ratnakar Shetty, IPL manager Prasanna Kannan, and chief operating officer Sunder Raman.
 
There were alleged irregularities in payments to international sports management agency IMG (hired as consultant); in guarantees to foreign players; and in the telecast rights. In a defence submitted via Mumbai-based law firm, Wadia, Ghandy & Co, Mr Lalit Modi claimed that in each show-cause notice, he was charged under section 42(1) which related to vicarious liability, whereas he was not individually responsible as the BCCI took decisions collectively. He alleged that despite several requests, he was not allowed to inspect documents or the replies of other respondents.
 
The ED is believed to have concluded its investigations and could soon issue penalties. This may be why Mr Modi has gone ballistic via Twitter, variously targeting Messrs Sharad Pawar, Praful Patel, Rajiv Shukla, Arun Jaitley, Anurag Thakur, Rakesh Maria, and dropping hints about Swiss bank chiefs, income tax commissioners, hawala operators, et al. His counsel Mehmood Abdi has accused former Ministers Salman Khursheed, P Chidambaram and Shashi Tharoor of instigating the current controversy as Mr Modi had revealed late Sunanda Pushkar’s sweat equity in the Kochi IPL team, after which the family’s security was abruptly withdrawn.
 
Mr Modi’s angst with the Union Minister for Finance goes back to his membership of a disciplinary committee (with Mr Jyotiraditya Scindia and Mr Chirayu Amin) probing whether Mr Modi indulged in “acts of individual misdemeanours”, which led to his suspension from the BCCI in April 2010. Mr Modi had sought Mr Jaitley’s recusal from the panel on grounds that the latter was the first complainant against him in the IPL Kochi case.
 
In 2006, Mr Modi complained to then BCCI chief Sharad Pawar that Mr Jaitley had appeared as a lawyer in the Supreme Court in a case related to the Himachal Pradesh Cricket Association, where Mr Anurag Thakur was president. By doing so, Mr Jaitley acted “against the interests of the Board” and contravened the BCCI’s Rule 6.2, ‘Regulations for players, team officials, managers, umpires & administrators’, as he was (and is) president of the Delhi & District Cricket Association. He was by default a member of the BCCI working committee and also a Member of the Rajya Sabha. This complaint figures in Mr Modi’s civil suit relating to his suspension, filed in Patiala House courts.

This is all an unholy mess. The way out is to make all sitting MPs and MLAs resign from sports bodies immediately. Thereafter, professional sportspersons should take up the task of purging active politicians from sports bodies in toto.
http://www.dailypioneer.com/columnists/edit/ipl-mess-setting-the-cat-among-the-pigeons.html

Sanchi stupa message: कारुजः-शिल्पिगणः kāruja śilpi gaṇá, 'elephant, shell, stick' rebus: artificer guild manufacturing metalcrafts

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Mirror: http://tinyurl.com/p8zga3e

The hieroglyph multiplex capital on the architrave, toraṇa of Sanchi stupa has hieroglyph components: group of elephants; spoked wheel, an artisan carrying a stick. Together they are read rebus-metonymy-layered Meluhha cipher as: कारुजः-शिल्पिगणः kāruja śilpi gaṇá. The message in plain text is: artisan guild manufacturing metalcrafts. 

Hieroglyph 1: तोरण [p= 456,1] n. (g. अर्धर्चदि) an arch , arched doorway , portal , festooned decorations over doorways (with boughs of trees , garlands , &c MBh.&c (ifc. f().; a mound near a bathing-place W.m. शिव , xiii , 1232; नाग धोरणि 'elephant trot' नाग (sg. also collect.) an elephant (f(). , ifc. f().Ka1v. BhP. etc.


As the Sanchi toraṇa declares in the centre-piece: these belong to the smithy, kole.l, 'temple' of dhoraṇi-vaThAra-dhamma (elephant-gait-spoked-wheel), architrave dharma quarter of the town of Besanagara. 
The metaphor of the spoked wheel as dhammachakka is attested in ancient literature. There is also a mleccha (Meluhha) reading for this hieroglyph of spoked-wheel as vaThAra.

Read together, the elephant-spoked-wheel hieroglyph multiplex PLUS hieroglyph signifying an architect carrying a stick: 

Hieroglyph: gaṇa 'stick; rebus: gaṇa 'guild' शिल्पिगणः śilpi gaṇá 'artificer guild'.

What does the guild do? The guild of artificers manufacture metalcrafts: kāruja 'young elephant'; kāru 'artificer', 'An epithet of विश्वकर्मन् the architect of the gods. -2 An art, a science.'

Hence,  कारुजः-शिल्पिगणः kāruja śilpi gaṇá hieroglyph multiplex adorns the quarter of the town of Besanagara designated by dhoraṇi-vaThAra 'architrave signifying quarter of the town'. vaTTa 'circle' PLUS Ara 'spoke' rebus: vaThAra 'quarter of the town' 

kāru कारु -जः  a young elephant

kāru कारु-शिल्पिगणः a. corporation of artisans and handicraftsmen; (Kau. A.2.6. kauśika-sūtra) gaṇá m. ʻ troop, flock ʼ RV. [Poss. (despite doubts in EWA i 316) < *gr̥ṇa -- ʻ telling ʼ (cf. *gr̥nti -- and esp. gaṇáyati ʻ tells one's number (of troop of flock) ʼ Kāś.]Pa. Pk. gaṇa -- m. ʻ troop, flock ʼ; Tor. (Biddulph) gan m. ʻ herd ʼ; K. gan m. ʻ beehive ʼ = mã̄cha -- gan m.; WPah. bhal. gaṇ m. pl. ʻ bees ʼ; Si. gaṇaya ʻ company ʼ EGS 52 but prob. ← Pa.(CDIAL 3988)

kāru कारु -जः a piece of mechanism, any product of manufacture.

kāru कारु a. (-रू f.) [कृ-उण् Uṇ.1.1] 1 A maker, doer, an agent, servant; राघवस्य ततः कार्यं कारुर्वानरपुङ्गवः Bk.7.28. -2 An artisan, mechanic, artist; कारुभिः कारितं तेन कृत्रिमं स्वप्नहेतवे Vb.1.13; इति स्म सा कारुतरेण लेखितं नलस्य च स्वस्य च सख्यमीक्षते N.1.38; Y.2.249,1.187; Ms.5.129;1.12. (They are :-- तक्षा च तन्त्रवायश्च नापितो रजकस्तथा । पञ्चमश्चर्मकारश्च कारवः शिल्पिनो मताः ॥) कारु kāru (रू rū) कः kḥ का kā An artisan; कारुकान् शिल्पिनश्चैव Ms.7.138. कारुकान्तं च शोणितम् Mb.13.135.14. ...... कारूकाश्च कुशीलवाः Śiva. B.31.18.-रुः 1 An epithet of विश्वकर्मन् the architect of the gods. -2 An art, a science. 

Hieroglyhph 1: करिन्  करिणी m. " having a trunk " , an elephant MBh. BhP. Pan5cat. &c कर  m. an elephant's trunk MBh. Pan5cat. &c

Hieroglyph 2: कर   m. the claws of a crab Hit.

Rebus: कर  [p=253,1] mf( , rarely )n. (for 2. » [p= 254,3]) ( √1. कृ) , a doer , maker , causer , doing , making , causing , producing (esp. ifc. ; cf. दुःखकर , भयं-क्° , सम्पत्-क्° , &c cf. Lat. चेरुस् , " creator ") AV. xii , 2 , 2 Mn. Pan5cat. &c m. the act of doing , making &c (ifc. ; cf. ईषत्कर , सु-क्° , दुष्-क्° , &c )

Hieroglyph: mollusc, shell: Ta. ippi pearl-oyster, shell; cippi shell, shellfish, coconut shell for measuring out curds. Ma. ippi, cippi oyster shell. Ka. cippu, sippu, cimpi, cimpe, simpi, simpu, simpe oyster shell, mussel, cockle, a portion of the shell of a coconut, skull, a pearl oyster; (Gowda) cippi coconut shell. Tu. cippi coconut shell, oyster shell, pearl; tippi, sippi coconut shell. Te. cippa a shell; (kobbari co) coconut shell; (mōkāli co) knee-pan, patella; (tala co) skull; (muttepu co) mother-of-pearl. Go. (Ma.) ipi shell, conch (Voc. 174). *sippī-; Pali sippī- pearl oyster, Pkt. sippī- id., etc.(DEDR 2535)*sippī ʻ shell ʼ. [← Drav. Tam. cippi DED 2089]Pa. sippī -- , sippikā -- f. ʻ pearl oyster ʼ, Pk. sippī -- f., S. sipa f.; L. sipp ʻ shell ʼ, sippī f. ʻ shell, spathe of date palm ʼ, (Ju.) sip m., sippī f. ʻ bivalve shell ʼ; P. sippm., sippī f. ʻ shell, conch ʼ; Ku. sīpsīpi ʻ shell ʼ; N. sipi ʻ shell, snail shell ʼ; B. sip ʻ libation pot ʼ, chip ʻ a kind of swift canoe ʼ S. K. Chatterji CR 1936, 290 (or <kṣiprá -- ?); Or. sipa ʻ oyster shell, mother -- of -- pearl, shells burnt for lime ʼ; Bi. sīpī ʻ mussel shells for lime ʼ; OAw. sīpa f. ʻ bivalve shell ʼ, H. sīp f.; G. sīp f. ʻ half an oyster shell ʼ, chīp f. ʻ shell ʼ; M. śīpśĩp f. ʻ a half shell ʼ, śĩpā m. ʻ oyster shell ʼ; -- Si. sippiya ʻ oyster shell ʼ ← Tam.(CDIAL 13417)

śílpa n. ʻ artistic work ʼ Br. ʻ manual craft ʼ Mn. [śilpá -- ʻ bright, decorative ʼ VS. -- Derivation from *piśla -- (P. Tedesco Language 23, 383) is improbable]
Pa. sippa -- , °aka -- n. ʻ art, craft ʼ, NiDoc. śilpa, Pk. sippa -- n.; Ku. sīp ʻ skill, ability ʼ, N. sip (Ku. N. sipālu ʻ clever, dexterous ʼ), OAw. sīpa; Si. sip -- a ʻ art, handiwork ʼ.(CDIAL 12470) śilpin ʻ skilled in art ʼ, m. ʻ artificer ʼ Gaut., śilpika<-> ʻ skilled ʼ MBh. [śílpa -- ]

Pa. sippika -- m. ʻ craftsman ʼ, NiDoc. śilpiǵa, Pk. sippi -- , °ia -- m.; A. xipini ʻ woman clever at spinning and weaving ʼ; OAw. sīpī m. ʻ artizan ʼ; M. śĩpī m. ʻ a caste of tailors ʼ; Si. sipi -- yā ʻ craftsman ʼ.(CDIAL 12471)

Hieroglyph: stick: Ka. gaṇa, kaṇe, kaṇa,  stick, arrow; kaṇakāl, gaṇakāl shinbone. Tu. kaṇe a slender bamboo branch, quill of a porcupine; kaṇelů small branch of a tree, thick end of grass or straw; gaṇè pole, staff, arrow. Go.(L) kaṇī arrow. Konḍa (BB 1972) kaṇsi spade. / Cf. Skt., Pali kaṇaya- a kind of spear or lance.Ta. kaṇai arrow, wooden handle (of a hoe, a pickaxe, or other tool), curved pole of a palanquin, shin; kaṇai-kkāl shin, main stem of a flower; kaṇai-kkaiforearm; kaṇaiyam club, post; kaṇicci battle-axe, pickaxe, goad. Ma. kaṇa small stick, shaft, hilt, handle, arrow, small bamboo branch, bamboo; kaṇayam spear, club; kaṇicci battle-axe, hatchet; kaṇaṅkāl, kaṇakkāl shinbone, calf of leg; kaṇaṅkai forearm. Ko. kaṇkeyt, kaṇki·t sickle (i.e. handle + katy knife). To. kaṇ koty dagger-shaped knife burned with corpse (cf. 1204); kaṇ ob knife used in child's hair-cutting ceremony (cf. 178).(DEDR 1166)
Sanchi toraṇa
S. Kalyanaraman
Sarasvati Research Center
June 30, 2015

Deciphering Mohenjo-daro seal m0296: kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln; blacksmith and engraver-lapidary setting or infixing gems

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Seal m0296. A pair of heifers (with one horn each) flanking a 'standard device' and nine leaves emerging from a stylized tree.

lo 'nine' (phonetic determinant: loa 'ficus religiosa') rebus: loh 'copper, metal' PLUS खांडा [ khāṇḍā ] A jag, notch, or indentation (as upon the edge of a tool or weapon. Thus, together: लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith. An alternative reading is possible to read the hieroglyph: chain, link (a loop emanating out of the notched vessel ending in rings): dama ʻchain, ropeʼ; dhamaka 'blacksmith' (Samskritam) Hence, lōkhaṇḍa PLUS dhamaka 'iron work blacksmith or iron smith'.

Rings on neck, one horn on young bull reinforce the phonetics of: 
कोंद kōnda ‘young bull' Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi)

The standard held on a post over which the entire hieroglyhph multiplex is superscripted may be a stylized rendering of the 'lathe-cum-portable furnace' device that frequently occurs in front of the one-horned young bull: saghaḍī, śaghaḍi = a pot for holding fire (G.) sãghāṛɔ m. ‘lathe’ (G.) 

Variant rebus readings are suggested in the context of the metalwork: 

Rebus: san:gatarāśū = stone cutter (Sindhi.) jangaḍ iyo ‘military guard who accompanies treasure into the treasury’; san:ghāḍiyo, a worker on a lathe (Gujarati.) sanghar 'fortification' (Pashto) sanghAta 'collection' (Pali) sanghAta 'adamantine glue' (Samskritam). The last semantics indicates that the blacksmith had competence in working with cementite or metal alloys.

The text of the inscription includes 'fish' hieroglyph: 

The first hieroglyph on the text read from r: 
kole.l 'temple' rebus: kole.l 'smithy'
kaNDa 'arrow' rebus: khaNDa 'excellent iron'
aya 'fish' rebus: aya, ayas 'iron, metal' (Gujarati.Rigveda)
खांडा [ khāṇḍā ] A jag, notch, or indentation (as upon the edge of a tool or weapon.(Kashmiri) खांडा (p. 202) [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended. (Marathi) Thus, Panini: ayaskANDa 'excellent iron'. khāṇḍā derived from lōkhaṇḍakāma can thus be translated as 'metalware, tools, pots and pans'.

kanac 'corner' rebus: kancu 'bronze' PLUS  vaTTa 'circle' Ara 'spoke' Together vaThAra 'quarter of town'

Thus, the pictorial motif consisting of hieroglyph multiplex PLUS text inscription:

Pictorial: lōkhaṇḍa PLUS dhamaka 'iron work blacksmith or iron smith' PLUS  कोंद kōnda ‘engraver, lapidary setting or infixing gems’ 
Text: kolel kaNDa ayaskANDa kancu vaThAra 'quarter of town for smithy, excellent iron, metalware, bronze'.

Thus, the message of the Mohenjo-daro seal m0296 is a reference to a quarter of town for metalwork and metalcrafts by blacksmith and engraver-lapidary setting or infixing gems.

lo 'nine' (Santali); no 'nine' (Bengali); on-patu (Tamil). loa 'species of fig tree, ficus glomerata, the fruit of ficus glomerata (Santali) Rebus: lo 'iron' (Assamese, Bengali); loa 'iron' (Gypsy); lauha 'made of copper or iron', metal, iron (Skt.); lohakaara 'coppersmith, ironsmith' (Pali); lohaara 'blacksmith' (Pt.); lohaLa id. (Oriya); loha 'metal, esp. copper or bronze' (Pali); copper (VS); loho, lo 'metal, ore, iron' (Si.); loha luTi 'iron utensils and implements' (Santali)  loa 'iron' (Mu.)Re(B),,(B) {N} ``^iron''. Pl. <-le>(Munda etyma)

dol 'likeness, picture, form' (Santali). Rebus: dul 'cast iron' (Santali) dul ‘to cast metal in a mould’ (Santali) dul meṛeḍ cast iron (Mundari. Santali)


san:ghāḍo, saghaḍī (G.) = firepan; saghaḍī, śaghaḍi = a pot for holding fire (G.)sãghāṛɔ m. ‘lathe’ (G.) Rebus: san:gatarāśū = stone cutter (S.) jangaḍ iyo ‘military guard who accompanies treasure into the treasury’; san:ghāḍiyo, a worker on a lathe (G.)

kod. 'one horn'; kot.iyum [kot., kot.i_ neck] a wooden circle put round the neck of an animal (G.)kamarasa_la = waist-zone, waist-band, belt (Te.)kot.iyum [kot., kot.i_ neck] a wooden circle put round the neck of an animal (G.) [cf. the orthography of rings on the neck of one-horned young bull]. ko_d.iya, ko_d.e = young bull; ko_d.elu = plump young bull; ko_d.e = a. male as in: ko_d.e du_d.a = bull calf; young, youthful (Te.lex.) ko_d.iya, ko_d.e young bull; adj. male (e.g., ko_d.e du_d.a bull calf), young, youthful; ko_d.eka~_d.u a young man (Te.); ko_d.e_ bull (Kol.); khor.e male calf (Nk.); ko_d.i cow; ko_r.e young bullock (Kond.a); ko_d.i cow (Pe.); ku_d.i id. (Mand.); ko_d.i id., ox (Kui); ko_di cow (Kuwi); kajja ko_d.i bull; ko_d.i cow (Kuwi)(DEDR 2199). kor.a a boy, a young man (Santali) go_nde bull, ox (Ka.); go_da ox (Te.); konda_ bull (Kol.); ko_nda bullock (Kol.Nk.); bison (Pa.); ko_nde cow (Ga.); ko_nde_ bullock (Ga.); ko_nda_, ko_nda bullock, ox (Go.)(DEDR 2216). Rebus: kot. 'artisan's workshop'.(Kuwi)kod. = place where artisans work (G.lex.) 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) 

ko_nda bullock (Kol.Nk.); bison (Pa.)(DEDR 2216). Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) Grierson takes the word कन्दुः (Skt.) to be a cognate of kaNDa 'pot' rebus: kaNDa 'fire altar' (Santali) 

Thus, the yung bullock or young ox glyph seems to be an allograph of 'rim-of-jar' glyph in Indus Script corpora. When two bullocks are juxtaposed, the semantics of pairing point to dol 'likeness, pair'(Kashmiri); rebus: dul 'cast iron'(Santali) Thus, the pair of young bullocks or oxen are read rebus: dul kō̃da 'two bullocks'; rebus: casting furnace or kiln'.

koḍiyum ‘heifer’ (G.). Rebus: koṭ ‘workshop’ (Kuwi) koṭe = forge (Santali)kōḍiya, kōḍe = young bull (G.)Rebus: ācāri koṭṭya ‘smithy’ (Tu.)


अखोटा [ akhōṭā ] m A groove or channel notched (as around a peg or stick) for a rope; also a sliding or running groove. 2 A projecting point, a snag. v लाग.

खांडा [ khāṇḍā ] A jag, notch, or indentation (as upon the edge of a tool or weapon.(Kashmiri) खांडा (p. 202) [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended. (Marathi) Thus, Panini: ayaskANDa 'excellent iron'.

लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.

Hieroglyph:  dama ʻ chain, rope ʼ (Si.): dāˊman1 ʻ rope ʼ RV. 2. *dāmana -- , dāmanī -- f. ʻ long rope to which calves are tethered ʼ Hariv. 3. *dāmara -- . [*dāmara -- is der. fr. n/r n. stem. -- √2]1. Pa. dāma -- , inst. °mēna n. ʻ rope, fetter, garland ʼ, Pk. dāma -- n.; Wg. dām ʻ rope, thread, bandage ʼ; Tir. dām ʻ rope ʼ; Paš.lauṛ. dām ʻ thick thread ʼ, gul. dūm ʻ net snare ʼ (IIFL iii 3, 54 ← Ind. or Pers.); Shum. dām ʻ rope ʼ; Sh.gil. (Lor.) dōmo ʻ twine, short bit of goat's hair cord ʼ, gur. dōm m. ʻ thread ʼ (→ Ḍ. dōṅ ʻ thread ʼ); K. gu -- dômu m. ʻ cow's tethering rope ʼ; P. dã̄udāvã̄ m. ʻ hobble for a horse ʼ; WPah.bhad. daũ n. ʻ rope to tie cattle ʼ, bhal. daõ m., jaun. dã̄w; A. dāmā ʻ peg to tie a buffalo -- calf to ʼ; B. dāmdāmā ʻ cord ʼ; Or. duã̄ ʻ tether ʼ, dāĩ ʻ long tether to which many beasts are tied ʼ; H. dām m.f. ʻ rope, string, fetter ʼ, dāmā m. ʻ id., garland ʼ; G. dām n. ʻ tether ʼ, M. dāvẽ n.; Si. dama ʻ chain, rope ʼ, (SigGr) dam ʻ garland ʼ. -- Ext. in Paš.dar. damaṭāˊ°ṭīˊ, nir. weg. damaṭék ʻ rope ʼ, Shum.ḍamaṭik, Woṭ. damṓṛ m., Sv. dåmoṛīˊ; -- with -- ll -- : N. dāmlo ʻ tether for cow ʼ, dã̄walidāũlidāmli ʻ bird -- trap of string ʼ, dã̄waldāmal ʻ coeval ʼ (< ʻ tied together ʼ?); M. dã̄vlī f. ʻ small tie -- rope ʼ.2. Pk. dāvaṇa -- n., dāmaṇī -- f. ʻ tethering rope ʼ; S. ḍ̠āvaṇuḍ̠āṇu m. ʻ forefeet shackles ʼ, ḍ̠āviṇīḍ̠āṇī f. ʻ guard to support nose -- ring ʼ; L. ḍã̄vaṇ m., ḍã̄vaṇī,ḍāuṇī (Ju. ḍ̠ -- ) f. ʻ hobble ʼ, dāuṇī f. ʻ strip at foot of bed, triple cord of silk worn by women on head ʼ, awāṇ. dāvuṇ ʻ picket rope ʼ; P. dāuṇdauṇ, ludh. daun f. m. ʻ string for bedstead, hobble for horse ʼ, dāuṇī f. ʻ gold ornament worn on woman's forehead ʼ; Ku. dauṇo m., °ṇī f. ʻ peg for tying cattle to ʼ, gng. dɔ̃ṛ ʻ place for keeping cattle, bedding for cattle ʼ; A. dan ʻ long cord on which a net or screen is stretched, thong ʼ, danā ʻ bridle ʼ; B. dāmni ʻ rope ʼ; Or. daaṇa ʻ string at the fringe of a casting net on which pebbles are strung ʼ, dāuṇi ʻ rope for tying bullocks together when threshing ʼ; H. dāwan m. ʻ girdle ʼ, dāwanī f. ʻ rope ʼ, dã̄wanī f. ʻ a woman's orna<-> ment ʼ; G. dāmaṇḍā° n. ʻ tether, hobble ʼ, dāmṇũ n. ʻ thin rope, string ʼ, dāmṇī f. ʻ rope, woman's head -- ornament ʼ; M. dāvaṇ f. ʻ picket -- rope ʼ. -- Words denoting the act of driving animals to tread out corn are poss. nomina actionis from *dāmayati2.3. L. ḍãvarāvaṇ, (Ju.) ḍ̠ã̄v° ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves together ʼ, Or. daũ̈rādaürā ʻ rope ʼ; Bi. daũrī ʻ rope to which threshing bullocks are tied, the act of treading out the grain ʼ, Mth. dã̄mardaũraṛ ʻ rope to which the bullocks are tied ʼ; H. dã̄wrī f. ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to tread out the corn ʼ. -- X *dhāgga<-> q.v.. Brj. dã̄u m. ʻ tying ʼ.*dāmara -- : Brj. dã̄wrī f. ʻ rope ʼ.(CDIAL 6283)

Rebus: dam 'blast of furnace' (Kashmiri): dhamá in cmpds. ʻ blowing ʼ Pāṇ., dhamaka -- m. ʻ blacksmith ʼ Uṇ.com. [√dham]Pa. dhama -- , °aka -- m. ʻ one who blows ʼ, Pk. dhamaga<-> m.; K. dam m. ʻ blast of furnace or oven, steam of stewing ʼ; -- Kho. Sh.(Lor.) dam ʻ breath, magical spell ʼ ← Pers. dam. dhamana n. ʻ blowing with bellows ʼ lex. [√dham]
K. damun m. ʻ bellows ʼ. -- Ash. domótilde; ʻ wind ʼ (→ Pr. dumūˊ), Kt. dyīmi, Wg. damútildemacr;, Bashg. damu; Paš.lauṛ. dāmāˊn, kuṛ. domón, uzb. damūn ʻ rain ʼ (< ʻ *storm ʼ → Par. dhamāˊn ʻ wind ʼ IIFL i 248): these Kaf. and Dard. forms altern. < dhmāna -- ?(CDIAL 6732) dam 1 दम् । क्षणमात्रकालः, प्राणनिरोधः, अतिधर्मबाधा, योगक्षेमनिर्वाहः, निमज्जनम् m. (sg. abl. dama 1 दम; pl. dat. daman 1 दमन्, spelt damn in K.Pr. 46; for daman 2 see s.v.; for 3, 4 see damun 1, 2; with suff. of indef. art. damāh दमाह् q.v., s.v.), breath, vital air, life, the breath of life (K.Pr. 67, Rām. 15, 17); breath or blast (of a furnace or oven); stewing or simmering over a slow fire, braising; a moment, an instant (YZ. 1, 216, Śiv. 133, Rām. 898, 113)(Kashmiri) धमनी (p. 433) [ dhamanī ] f S A small tube through which to puff the fire. 2 Any tubular vessel of the body, as an artery, a vein, a nerve.(Marathi).

S. Kalyanaraman
Sarasvati Research Center
June 30, 2015

What a goof up by Lalit Modi that he missed op to meet Sonia's sister from Italy who wanted $60 mn. to launder everything. Now, will Jairam Ramesh deny this too? NaMo, restitute kaalaadhan.

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The great scoop from this story in TOI is that Sonia's sister from Italy was calling the shots -- the real remote contol boss. 


What a way for Sonia to run a constitutional government in peanut republic, subverting every constitutional institution... 


Can NaMo introduce the Rule of Law in Bharaam by restituting kaalaadhan, the post-colonial loot from 1947? Ca he institute a Nuremberg-type trial for recent Constitutional subversions?


And now, Jairam Ramesh denies offering deals in Lalit Modi row...


Kalyan


Varun Gandhi met me in London, offered to 'settle everything with Sonia': Lalit Modi


Varun Gandhi met me in London, offered to 'settle everything with Sonia': Lalit Modi
In a series of tweets, Lalit Modi has claimed BJP MP "Varun Gandhi came to meet him at his house in London a few years ago".
NEW DELHI: Former IPL Commissioner Lalit Modi is continuing with his "whistleblowing" spree on Twitter. 

In a series of tweets, Lalit Modi has claimed BJP MP "Varun Gandhi came to meet him at his house in London a few years ago".


READ ALSO: Lalit Modi's tweet now drags Priyanka into row

Congress, BJP spar over Lalit Modi's claim of 'meeting Gandhi family' in UK 

Lalit Modi also alleged that "Varun Gandhi offered to settle everything with Sonia Gandhi for $60 million". 

"Varun offered to settle everything with his aunt. He wanted meet me to her sister from Italy. The aunt is Sonia Gandhi and sister is Sonia's sister," the former IPL chief alleged in tweets. 

Here are the tweets of Lalit Modi regarding his meeting with Varun Gandhi:
1/3 Mr came to see me at my house a few years ago and said he can settle everything in with
Varun Gandhi has dismissed Lalit Modi's tweets as "baseless allegations".

Varun said that Modi is trying to divert attention from himself.

Congress dismisses reports of offering deal to government in Lalit Modi row as ‘baseless and mischievous’

Rejecting the reports, senior Congress leader Jairam Ramesh said they are "totally baseless and mischievous".

lalit Modi row, Vasundhara Raje, Sushma Swaraj, Congress, Jairam Ramesh, Congress deal government, GST bill, Lalit Modi controversy
Senior Congress leader Jairam Ramesh dismissed the reports of Congress offering deal to government as 'baseless.' (Express photo)
By: Press Trust of India | New Delhi | Updated: July 1, 2015 12:26 pm
The Congress today dismissed as “totally baseless” and “mischievous” reports that it had offered a deal to government under which it was ready to support passage of GST bill in Parliament if it axed External Affairs Minister Sushma Swaraj and Rajasthan Chief Minister Vasundhara Raje in the wake of the Lalitgate controversy.
AICC Communication Department chief Randeep Surjewala said, “Sacking Swaraj and Raje are issues of righteousness, impropriety and holding Modi government accountable to their promise of not shielding black money hoarders of the ilk of Lalit Modi…Question of quid pro quo on this all pervading issue of morality and constitutional accountability does not arise”, he said.
Rejecting the reports, senior party leader Jairam Ramesh said they are “totally baseless and mischievous”.
According to reports in a section of the media, Congress has come forward with a proposal for the government – axe Swaraj and Raje over Lalit Modi row and get support for Goods and Services Tax Bill in Parliament.
The reports said the Centre has rejected the offer from Congress which has kept up the pressure on the NDA government over ‘Lalitgate’.
It said the Modi government has outrightly rejected Congress’ offer, saying there is no question of any deal with the Congress in Parliament session, be it on GST or Land Acquisition Bill.
lalit Modi row, Vasundhara Raje, Sushma Swaraj, Congress, Jairam Ramesh, Congress deal government, GST bill, Lalit Modi controversyForeign Minister Sushma Swaraj and PM Narendra Modi in New Delhi
Instead, the BJP has agreed for a debate on any contentious issue.
The Monsoon session of Parliament, which is set to commence on July 21, is expected to be a stormy affair with Congress giving more than ample indications of disruptions if government fails to take action on the Lalitgate issue.
Congress has been demanding resignations of Swaraj and Raje over Lalit Modi controversy, of HRD Minister Smriti Irani for allegedly misrepresenting facts about her educational qualification in separate election affidavits, and of Maharashtra minister Pankaja Munde for her clearing purchases worth Rs 206 crore on a single day instead of inviting tenders in violation of norms.

Why is SoniaG family missing in action? Skeletons in the cupboard -- R. Jagannathan. NaMo, restitute kaalaadhan.

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Why did Rahul, Sonia Gandhi sneak out when Congress has BJP on the ropes?

by Jul 1, 2015 R. Jagannathan
A new Congress strategy has been visible in recent weeks. It is a simple and effective one. The strategy runs something like this: whenever there are corruption scams to be talked about, the Gandhi family will take the backseat, and possibly missing in action (MIA). When it comes to attacking the Modi Sarkar on ideological grounds (anti-poor, secularism), Sonia and Rahul will be at the forefront.

Sonia Gandhi, her son Rahul and daughter Priyanka sneaked out of the country before International Yoga Day for allegedly personal reasons. This is perfectly all right, but is it just coincidence that for the next two weeks, the Congress and the media have been in a feeding frenzy over scams involving all BJP states and the centre, the family is completely MIA?

Sushma Swaraj has been under attack for abandoning normal ministry protocol to enable Lalit Modi to obtain British travel documents; Vasundhara Raje has been literally under siege daily for being a business partner of Lalit Modi in dubious circumstances; the Madhya Pradesh government has been on the backfoot over the Vyapam scam, which has seen many of the accused dying under unexplained circumstances; a couple of Maharashtra ministers - Pankaja Munde and Vinod Tawde - have been blasted for scams involving their ministries.

In all these “scams”, no member of the Gandhi family has been at the forefront of accusations. They obviously timed their exit in such a way as to allow others to do the talking. The attacks on Vasundhara Raje have been orchestrated by Sachin Pilot and Jairam Ramesh; the attacks in Madhya Pradesh have been led by Digvijaya Singh and other low-level Congress flunkies. Even Jyotiraditya Scindia, who is related to Vasundhara Raje is MIA.
]File picture of Rahul Gandhi and Sonia Gandhi. AFPFile picture of Rahul Gandhi and Sonia Gandhi. AFP
The strategy behind this can only be speculated on, and this is what it looks like. The Gandhi family is missing in action because it makes for an easy target if either Sonia Gandhi or Rahul is seen to be leading the onslaught.

Here's possibly why.

Sushma Swaraj's help to “fugitive” Lalit Modi - the “fugitive” label being stuck on him by the media and the Congress purely on the basis of a couple of show cause notices issued by the Enforcement Directorate - falls flat when compared to the kind of help the Gandhi family gave to its own pet fugitive, the late Ottavio Quattrochi, a key player in the Bofors payoff scandal. Quattrochi was Sonia Gandhi's pal, and the UPA government not only did not chase him, but also allowed him to take his scam money and run. The UPA unfroze Quattrochi's bank accounts, enabling him to take his scam-tainted money. If the Gandhis had taken on Swaraj themselves, the Quattrochi issue would surely have come up for discussion.

Vasundhara Raje is being attacked by Sachin Pilot and not Rahul Gandhi for it immediately brings Robert Vadra's own land-grab cases in Haryana and Rajasthan to the fore. In fact, a case involving Sonia's and Rahul's own property grab - the transfer of the Rs 5,000 crore Herald properties to their private trust using party money - is being heard in a Delhi court. Raje is being targeted by lesser fry in the Congress party in order to ensure that no bullets ricochet on the Gandhi family, which is vulnerable on this count.

Exit from India for a couple of weeks also allowed the Gandhi family to avoid questions on the 40th anniversary of the 1975 internal emergency imposed by Sonia's mother-in-law and Rahul's grandmother, Indira Gandhi. In fact, most Congress flunkies also eased themselves out of the limelight during the week leading upto 25 June, and some, in fact, managed to claim that LK Advani's interview to The Indian Express on the emergency was, in fact, about Narendra Modi's authoritarian tendencies. Sonia and Rahul have never formally condemned Indira Gandhi's emergency, seen as the biggest assault on democracy in independent India ever.

It is more than likely that Sonia and Rahul will focus their attacks on the Modi government largely on the ideological front, where the NDA will be painted as anti-poor, pro-cronies, and anti-farmer. The Gandhis may not take the government directly on any scams, having just lost the last Lok Sabha elections for running India's most corrupt government ever.

The strategy seems to be working so far, with Rahul himself kicking off the plan by attacking the government as a “suit-boot-ki-sarkar” during the budget session of parliament. He has obviously touched a raw nerve in Modi's psyche, for the Prime Minister has been trying to reinvent himself as a pro-poor politician in order to shift his party to the centre of the Indian political spectrum - away from its traditional right-wing orientation.

Using the minions to have a go at the BJP on corruption is intended to keep the Gandhi family protected from the counter-fire.

The Gandhi family went out of the country in mid-June even as the Congress party offered covering fire. Their prolonged absence has thus escaped media comment.

Nature of Indus writing system defined, decipherment proved. Indus Script Corpora are hypertexts of metalwork catalogues.

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Mirror: http://tinyurl.com/othgjh7

I submit with all humility that it is no longer necessary to add a footnote to narratives of Itihāsa of Bhāratam Janam that Indus Script has not been deciphered so far. The entire Indus Script Corpora is a writing system based on Meluhha speech of Indian sprachbund (speech union). The writing system was called mlecchita vikalpa (i.e. Meluhha cipher), by Vātsyāyana. The Corpora of inscriptions encoded Proto-Indo-European or Proto-Indo-Aryan speech, variously called Prākritam or Des'i. For a documentation on Des'i, see: Sharma, Sheo Murti, 1980, Ācārya Hemacandra racita Deśī nāma mālā kā bhāshā vaijñānika adhyayanaJayapura, Devanagara Prakasana


In the monumental work Ācārya Hemacandra identifies one gloss: ibbo. This is explained semantically as 'merchant'. This is signified by the hieroglyph ibha, 'elephant'.  ibbo (merchant of ib 'iron') ibha 'elephant' (Samskritam) Rebus: ibbho,,,Hemacandra, Desinamamala, vaṇika). ib 'iron' (Santali) karibha 'elephant' (Samskritam). See: http://bharatkalyan97.blogspot.in/2015/06/sanchi-stupa-message-karuja-silpi-gana.html

Photo ca. 1910.Hieroglyph multiplex capital on the architrave, toraṇa of Sanchi stupa northern gateway: four elephants hold aloft the spoked-wheel standard. [This can also be interpreted as upholding the wheel of dharma-dhamma if the art historian's interpretation of aniconic representations represented the reality of the times.]

The centre-piece on a Sanchi torana shows four elephants holding aloft the standard of spoked wheel. The rebus-metonymy-layered-cipher provides a reading: ibbo vaThAra'merchant quarter of the town.'

In Besanagara as a trading center at a trade route intersection, the hieroglyph multiplex denoted collection of materials traded at the vaThAra 'quarter of the town' -- denoted by the hieroglyph: circle with spokes: vaTTa, vRtta 'circle' PLUS Ara 'spokes'. Just as the Dholavira sign board announced metalwork at Kotda of Gujarat, the pillars with capitals in Besanagara broadcast the competence of artificers in artistic working with metals as armourers, as brass-workers, lapidaries, metalsmiths, cire perdue metalcasters. நகரவிடுதி nakara-viṭuti , n. < நகரம்¹ +. A lodging-place specially intended for Nāṭṭuk- kōṭṭai Cheṭṭies; நாட்டுக்கோட்டை நகரத்தார் வந்து தங்குவதற்காக ஏற்பட்ட கட்டடம். Nāṭ. Cheṭṭi. http://bharatkalyan97.blogspot.in/2015/06/itihasa-of-bharatam-janam-makara-manda.html

This monograph argues that the decipherment of Indus Script Corpora as metalwork catalogues, catalogus catalogorum is validated -- indeed, proved --in the context of reading the Corpora as hypertexts. The tradition of Indus writing system continues into the historical periods as evidenced by the continued use of the characteristic principles of the writing system in the unique hieroglyph multiplexes displayed on sculptural artifacts of the Kushana and Satavahana periods and on tens of thousands of punch-marked coins and cast coins (pace the documentation of 342 symbols identified by W. Theobald on punch-marked coins, many of which are based on Indus Script prototypes).

See: http://bharatkalyan97.blogspot.in/2015/06/an-object-lesson-for-art-historians.html Monographs of Theobald (1890, 1901) list 342 symbols deployed on punch-marked coins. These symbols also survive on later coinages  of Ujjain or Eran or of many janapadas. One view is that early punch-marked coinage in Bharatam is datable to 10th century BCE, predating Lydia's electrum coin of 7th cent. BCE.  “The coins to which these notes refer, though presenting neither king’s names, dates of inscription of any sort, are nevertheless very interesting not only from their being the earliest money coined in India, and of a purely indigenous character, but from their being stamped with a number of symbols, some of which we can, with the utmost confidence, declare to have originated in distant lands and inthe remotest antiquity…The coins to which I shall confine my remarks are those to which the term ‘punch -marked’ properly applies. The ‘punch’ used to produce these coins differed from the ordinary dies which subsequently came into use, in that they covered only a portion of the surface of the coin or ‘blank’, and impressed only one, of the many symbols usually seen on their pieces…One thing which is specially striking about most of the symbols representing animals is, the fidelity and spirit with which certain portions of it may be of an animal, or certain attitudes are represented…Man, Woman, the Elephant, Bull, Dog, Rhinoceros,Goat, Hare, Peacock, Turtle, Snake, Fish, Frog, are all recognizable
at a glance…First, there is the historical record of Quintus Curtius, who describes the Raja of Taxila (the modern Shahdheri, 20miles north-west from Rawal Pindi) as offering Alexander 80 talents of coined silver (‘signati argenti’). Now what other, except these punch-marked coins could these pieces of coined silver have been? Again, the name by which these coins are spoken of in the Buddhist sutras, about 200 BCE was ‘purana’, which simply signies ‘old’, whence the General argunes that the word ‘old as applied to the indigenous ‘karsha’,was used to distinguish it from the new and more recent issues of the Greeks. Then again a mere comparison of the two classes of coins almost itself suffices to refute the idea of the Indian coins being derived from the Greek. The Greek coins present us with a portrait of the king, with his name and titles in two languages together with a great number and variety of monograms indicating, in many instances where they have been deciphered by the ingenuity and perseverance of General Cunningham and others, the names of the mint cities where the coins were struck, and it is our ignorance of the geographical names of the period that probably has prevented the whole of them receiving their proper attribution; but with the indigenous coins it is far otherwise, as they display neither king’s head, neame, titles or mongrams of any description…It is true that General Cunningham considers that many of these symbols, though not monograms in a strict sense, are nevertheless marks which indicate the mints where the coins were struck or the tribes among whom they were current, and this contention in no wise invalidates the supposition contended for by me either that the majority of them possess an esoteric meaning or have originated in other lands at a period anterior to the
ir adoption for the purpose they fulfil on the coins in Hindustan.”

(W. Theobald, 1890, Notes on some of the symbols found on the punch-marked coins of Hindustan, and on their relationship to the archaic symbolism of other races and distant lands, Journal of the  Asiatic Society of Bengal, Bombay Branch (JASB), Part 1. History , Literature etc., Nos. III & IV, 1890, pp. 181 to 184) W. Theobald, Symbols on punch-marked coins of Hindustan (1890,1901). 

See: Fabri, CL, The punch-marked coins: a survival of the Indus Civilization, 1935, Journal of the Royal Asiatic Society of Great Britain and Ireland, Cambridge University Press. pp.307-318. A comparison of Punch-marked hieroglyphs with Indus Script inscriptions:
 


This follows the insightful, scintillating presentation by Dennys Frenez and Massimo Vidale which presents an exposition of art appreciation of Indus Script Corpora with particular reference to orthographic fidelity to signify hypertext components on inscriptions.  A paper by Dennys Frenez and Massimo Vidale on composite Indus creatures and their meaning: Harappa Chimaeras as 'Symbolic Hypertexts'. Some Thoughts on Plato, Chimaera and the Indus Civilization at http://a.harappa.com/content/harappan-chimaeras 
See: http://bharatkalyan97.blogspot.in/2015/06/hieroglyphmultiplextext-sagad-vakyam.html In this post, it has been argued that the hypertexts of pictorial motifs on Indus Script Corpora discussed by Dennys Frenez and Massimo Vidale should be extended to hieroglyphs as 'signs' and ligatured hieroglyphs as 'signs' on 'texts' of the Indus inscriptions. The entire Indus Script Corpora consist of hieroglyph multiplexes -- using hieroglyphs as components -- and hence, the comparison with hypertexts need not be restricted to pictorial motifs or field symbols of Indus inscriptions. See also: Massimo Vidale, 2007, 'The collapse melts down: a reply to Farmer, Sproat and Witzel', East and West, vol. 57, no. 1-4, pp. 333 to 366).Mirror: http://www.docstoc.com/docs/document-preview.aspx?doc_id=9163376 The use of the phrase 'hypertexts' in the context of Indus Script is apposite because, the entire Indus Script Corpora is founded on rebus-metonymy-layered representations of Meluhha glosses from Indian sprachbund, speech area of ancient Bhāratam Janam of the Bronze Age.

Since the entire Indus Scrip Corpora constitute metalwork catalogues, it is but natural that the Indus Script continuum is more pronounced in the array of symbols used by mints from Taxila to Karur. This continuum reinforces the validity of decipherment of the hypertexts of the Corpora. See: https://www.academia.edu/8776901/Indus_script_hieroglyphs_continued_use_in_ancient_Indian_mints_evidenced_by_punch-marked_coins

Many hieroglyphs of Indus Script Corpora continue to be used in historical periods:

From a review of Indus Script Corpora of nearly 7000 inscriptions, the nature of Indus writing system is defined, while validating decipherment as catalogus catalogorum of metalwork by Bronze Age artisans of Indian sprachbund

The Corpora will expand by over approximately 10,000 inscriptions if the hieroglyphs (so-called symbols such as svastika, tree-on-railing, elephant, tiger, fish, crocodile, srivatsa) deployed on punch-marked coins, cast coins and sculptural friezes and artifacts such as Begram ivories, from sites such as Bharhut or Sanchi stupas, Kankali-Tila or Mathura AyAgapaTTa or artifacts of Candi Sukuh, Candi Setho, Dong Son Bronze drums, are taken into reckoning as Indus Writing tradition continuum (either used as hieroglyphs or used together with Brahmi or Kharoshthi syllabic scripts providing additional inscriptions, say, names of people or titles or references to other texts such as Jataka tales in Bauddham tradition).

1. Composed of hieroglyph elements as pictorial motifs and signs on texts; thus there are two categories of hieroglyphs: pictorial hieroglyphs and sign hieroglyphs
2. Orthographic construction of hieroglyph multiplexes using hieroglyph elements
3. Rebus-metonymy-layer to signify metalwork catalogues
4. Deciphered plain Meluhha or Indian sprachbund speech texts from hieroglyphmultiplex cipher texts (i.e. hypertexts with both a) hieroglyphs on pictorial motifs and b) hieroglyphs as signs on texts)

This definition will be explained in this note identifying some characteristic principles governing design features of the Indus writing system.

1. A good example of constructed orthography of hieroglyph multiplex is a seal impression from Ur identified by CJ Gadd and interpreted by GR Hunter:


Takṣat vāk, ‘incised speech’ -- Evidence of Indus writing of ...
Seal impression, Ur (Upenn; U.16747); dia. 2.6, ht. 0.9 cm.; Gadd, PBA 18 (1932), pp. 11-12, pl. II, no. 12; Porada 1971: pl.9, fig.5; Parpola, 1994, p. 183; water carrier with a skin (or pot?) hung on each end of the yoke across his shoulders and another one below the crook of his left arm; the vessel on the right end of his yoke is over a receptacle for the water; a star on either side of the head (denoting supernatural?). The whole object is enclosed by 'parenthesis' marks. The parenthesis is perhaps a way of splitting of the ellipse (Hunter, G.R.,JRAS, 1932, 476). An unmistakable example of an 'hieroglyphic' seal. Hieroglyph:  kuṭi 'woman water-carrier' (Telugu) Rebus: kuṭhi 'smelter' furnace for iron' (Santali) Hieroglyph: meḍha ‘polar star’ (Marathi). Rebus: meḍ ‘iron’ (Ho.Mu.) Thus, meḍ kuṭhi 'iron smelter'.  (Parenthesis kuṭila is a phonetic determinan of the substantive gloss:  kuṭhi 'smelter'. It could also denote a smelter for kuṭila, 'tin metal').
kuṭi కుటి : శంకరనారాయణ తెలుగు-ఇంగ్లీష్ నిఘంటువు 1953  a woman water-carrier.
Splitting the ellipse () results in the parenthesis, (  ) within which the hieroglyph multiplex (in this case of Ur Seal Impression, a water-carrier with stars flanking her head) is infixed, as noted by Hunter.










     




The ellipse is signified by Meluhha gloss with rebus reading indicating the artisan's competence as a professional: kōna 'corner' (Nk.); kōu angle, corner (Tu.); rebus: kõdā ‘to turn in a lathe’ (Bengali) Alternative reading; kanac 'corner' rebus: kancu 'bronze'. 

kõdā is a metals turner, a mixer of metals to create alloys in smelters.

The signifiers are the hieroglyph components: dula 'pair' rebus: dul 'cast metal';  meḍha ‘polar star’ rebus: meḍ ‘iron’;  kōna 'corner' rebus: kõdā ‘to turn in a lathe’; kuṭi 'woman water-carrier' rebus: kuṭhi 'smelter' furnace for iron/kuṭila, 'tin metal').

The entire hieroglyph multiplex stands deciphered: kõdā, 'metals turner' (with) meḍ ‘iron kuṭhi '
smelter', kuṭila, 'tin metal'. 

2. This hieroglyph multiplex of the Ur Seal Impression confirms the rebus-metonymy-layered cipher of Meluhha glosses related to metalwork.

3. A characteristic feature of Indus writing system unravels from this example: what is orthographically constructed as a pictorial motif can also be deployed as a 'sign' on texts of inscriptions. This is achieved by a stylized reconstruction of the pictorial motif as a 'sign' which occurs with notable frequency on Indus Script Corpora -- with orthographic variants (Signs 12, 13, 14).
Signs 12 to 15. Indus script: 

Identifying Meluhha gloss for parenthesis hieroglyph or (  ) split ellipse:  குடிலம்¹ kuṭilam, n. < kuṭila. 1. Bend curve, flexure; வளைவு. (திவா.) (Tamil) In this reading, the Sign 12 signifies a specific smelter for tin metal: kuṭi 'woman water-carrier'  rebus: rebus: kuṭhi 'smelter' furnace for iron/ kuṭila, 'tin (bronze)metal; kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Samskritam) See: http://download.docslide.us/uploads/check_up03/192015/5468918eb4af9f285a8b4c67.pdf

It will be seen from Sign 15 that the basic framework of a water-carrier hieroglyph (Sign 12) is superscripted with another hieroglyph component, Sign 342: 'Rim of jar' to result in Sign 15. Thus, Sign 15 is composed of two hieroglyph components: Sign 12 'water-carrier' hieroglyph; Sign 342: "rim-of-jar' hieroglyph (which constitutes the inscription on Daimabad Seal 1).

kaṇḍ kanka ‘rim of jar’; Rebus: karṇaka ‘scribe’; kaṇḍ ‘furnace, fire-altar’. Thus the ligatured Glyph is decodedkaṇḍ karṇaka ‘furnace scribe'
Daimabad Seal 1 (Sign 342: Two hieroglyph components: jar with short-neck and rim-of-jar) -- distringuished from broad-mouthed rimless pot which is another Sign hieroglyph.

Each hieroglyph component of Sign 15 is read in rebus-metonymy-layered-meluhha-cipher:  Hieroglyph component 1: kuṭi 'woman water-carrier' rebus: kuṭhi 'smelter' furnace for iron/kuṭila, 'tin metal'. Hieroglyph component 2: kanka, kārṇī-ka 'rim-of-jar' rebus: kanka, kārṇī-ka m. ʻsupercargo of a shipʼ 'scribe'.


Ligatured hieroglyph 15 using two ligaturing components: 1. water-carrier; 2. rim-of-jar. The ‘rim-of-jar’ glyph connotes: furnace account (scribe). Together with the glyph showing ‘water-carrier’, the ligatured glyphs of kuṭi ‘water-carrier’ + ‘rim-of-jar’ can thus be read as: kuṭhi kaṇḍa kanka ‘smelting furnace account (scribe)’. 



m1405 Pict-97 Person standing at the centre pointing with his right hand at a bison facing a trough, and with his left hand pointing to the Sign 15. 

This tablet is a clear and unambiguous example of the fundamental orthographic style of Indus Script inscriptions that: both signs and pictorial motifs are integral components of the message conveyed by the inscriptions. Attempts at 'deciphering' only what is called a 'sign' in Parpola or Mahadevan corpuses will result in an incomplete decoding of the complete message of the inscribed object.

barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.(Marathi)

pattar 'trough'; rebus pattar, vartaka 'merchant, goldsmith' (Tamil) பத்தர்² pattar 
, n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று.

eraka'raised arm' Rebus: eraka'metal infusion' (Kannada. Tulu) 

Sign 15:  kuṭhi kaṇḍa kanka ‘smelting furnace account (scribe)’. 

Thus, the hieroglyph multiplex on m1405 is read rebus from r.: kuṭhi kaṇḍa kanka eraka bharata pattar'goldsmith-merchant guild -- smelting furnace account (scribe), molten cast metal infusion, alloy of copper, pewter, tin.' 

Sign 13 is a composition of hieroglyph component Sign 12 kuṭi 'woman water-carrier'  PLUS 
Sign' which signifies hieroglyph: 'notch'. Reading the two hieroglyph components together Sign 13 reads: kuṭi 'woman water-carrier' rebus: kuṭhi 'smelter' furnace for iron/kuṭila, 'tin metal'.PLUS khāṇḍā ‘notch’ Marathi: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus: khāṇḍā ‘metal tools,  pots and pans’. Thus, the reading is: kuṭhi khāṇḍā 'smelter metal tools, pots and pans'.

Sign 14 add the hieroglyph component kōla 'arrow' or kaṇḍa ;'arrow-head' to Sign 12. This Sign 14 is deciphered as kuṭhi kaṇḍa'smelter metal tools, pots and pans' (Thus, a synonym of Sign 13) OR kuṭhi kola 'smelter, working in iron' or kuṭhi kole.l 'smelter, smithy'.

Hieroglyph: eraka‘raised arm’ (Telugu) Rebus: eraka‘copper’ (Telugu); 'moltencast' (Gujarati); metal infusion (Kannada.Tulu)

Sign 15 occurs togethe with a notch-in-fixed fish hieroglyph on Harappa 73 seal:
Harappa seal (H-73)[Note: the hieroglyph ‘water carrier’ pictorial of Ur Seal Impression becomes a hieroglyph sign] Hieroglyph: fish + notch: aya 'fish' + khāṇḍā m  A jag, notch Rebus: aya 'metal'+  khāṇḍā ‘tools, pots and pans, metal-ware’. kuṭi 'water-carrier' Rebus: kuṭhi 'smelter'. खोंड (p. 216) [khōṇḍam A young bull, a bullcalf; खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl (Marathi); kōḍe dūḍa bull calf (Telugu); kōṛe'young bullock' (Konda) rebus: kõdā‘to turn in a lathe’ (Bengali) [The characteristic pannier which is ligatured to the young bull pictorial hieroglyph is a synonym खोंडा 'cowl' or 'pannier').खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) ] खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf.(Marathi) खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl.खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.)

Hieroglyph: kōḍ 'horn' Rebus: kōḍ 'place where artisans work, workshop' কুঁদন, কোঁদন [ kun̐dana, kōn̐dana ] n act of turning (a thing) on a lathe; act of carving (Bengali) कातारी or कांतारी (p. 154) [ kātārī or kāntārī ] m (कातणें) A turner.(Marathi)

Rebus: खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver.
खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work.खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engraveखोदींव [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured. http://bharatkalyan97.blogspot.in/2015/04/excavations-at-dholavifra-1989-2005-rs.html
The intimations of a metals turner as a scribe are also gleaned from the gloss: खोडाखोड or डी [ khōḍākhōḍa or ḍī ] f (खोडणें) Erasing, altering, interlining &c. in numerous places: also the scratched, scrawled, and disfigured state of the paper so operated upon; खोडींव [ khōḍīṃva ] p of खोडणें v c Erased or crossed out.Marathi). खोडपत्र [ khōḍapatra ] n Commonly खोटपत्र.खोटपत्र [ khōṭapatra ] n In law or in caste-adjudication. A written acknowledgment taken from an offender of his falseness or guilt: also, in disputations, from the person confuted. (Marathi) Thus, khond 'turner' is also an engraver, scribe.

That a metals turner is engaged in metal alloying is evident from the gloss: खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. Hence 2 A lump or solid bit (as of phlegm, gore, curds, inspissated milk); any concretion or clot. खोटीचाComposed or made of खोट, as खोटीचें भांडें.

See: http://bharatkalyan97.blogspot.in/2015/03/x.html

See: http://bharatkalyan97.blogspot.in/2015/06/hieroglyphmultiplextext-sagad-vakyam.html Thanks to Dennys Frenez and Massimo Vidale who compared Indus Script 'chimaera' to 'hypertext'. A paper (2012) by Dennys Frenez and Massimo Vidale on Composite Indus creatures and their meaning: Harappa Chimaeras as 'Symbolic Hypertexts'. Some Thoughts on Plato, Chimaera and the Indus Civilization at http://a.harappa.com/content/harappan-chimaeras

This note elaborates on this splendid insight argued archaeologically and orthographically in their monograph. 

Arguments of Dennys Frenez and Massimo Vidale 

The arguments of Dennys Frenez and Massimo Vidale are framed taking the example of a Mohenjo-daro seal m0300 with what they call 'symbolic hypertext' or, 'Harappan chimaera and its hypertextual components':
m0300. Mohenjo-daro seal.


Harappan chimaera and its hypertextual components. Harappan chimera and its hypertextual components. The 'expression' summarizes the syntax of Harappan chimeras within round brackets, creatures with body parts used in their correct  anatomic position (tiger, unicorn, markhor goat, elephant, zebu, and human); within square brackets, creatures with body parts used to symbolize other anatomic elements (cobra snake for tail and human arm for elephant proboscis); the elephant icon as exonent out of the square brackets symbolizes the overall elephantine contour of the chimeras; out of brackes, scorpion indicates the animal automatically perceived joining the lineate horns, the human face, and the arm-like trunk of Harappan chimeras. (After Fig. 6 in: Harappan chimaeras as 'symbolic hypertexts'. Some thoughts on Plato, Chimaera and the Indus Civilization (Dennys Frenez & Massimo Vidale, 2012) 

Framework and Functions of Indus Script

The unique characteristic of Indus Script which distinguishes the writing system from Egyptian hieroglyphs are as follows:

1. On both Indus Script and Egyptian hieroglyphs, hieroglyph-multiplexes are created using hieroglyph components (which Dennys Frenez and Massimo Vidale call hypertextual components). 

2. Indus Script denotes 'expressions or speech-words' for every hieroglyph while Egyptian hieroglyphs generally denote 'syllables' (principally consonants without vowels).

3. While Egyptian hieroglyphs are generally deployed to derive 'names of people' or 'expressions denoting administrative divisions' deploying nomes, Indus Script is NOT used for syllabic combinations which result in names of people or designations. As evidenced by the use of Brahmi or Kharoshthi script together with Indus Script hieroglyphs on tens of thousands of ancient coins, the Brahmi or Kharoshthi syllabic representations are generally used for 'names of people or designations' while Indus Script hieroglyphs are used to detail artisan products, metalwork, in particular.

The framework of Indus Script has two structures: 1) pictorial motifs as hieroglyph-multiplexes; and 2) text lines as hieroglyph-multiplexes

Dennys Frenez and Massimo Vidale focus attention on pictorial motifs and on m0300 seal, identify a number of hieroglyph components constituting the hieroglyph-multiplex -- on the pictorial motif of 'composite animal', seen are hieroglyph components (which they call hypertextual components): serpent (tail), scorpion, tiger, one-horned young bull, markhor, elephant, zebu, standing man (human face), man seated in penance (yogi).  

The yogi seated in penance and other hieroglyphs are read rebus in archaeometallurgical terms: kamaDha 'penance' (Prakritam) rebus: kampaTTa 'mint'. Hieroglyph: kola 'tiger', xolA 'tail' rebus: kol 'working in iron'; kolle'blacksmith'; kolhe'smelter'; kole.l 'smithy'; kolimi 'smithy, forge'. खोड [ khōṇḍa ] m A young bull, a bullcalf (Marathi) rebus: khond 'turner'. dhatu 'scarf' rebus: dhatu 'minerals'. bica 'scorpion' rebus: bica'stone ore'. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (Gujarati) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.) mẽṛhet iron; ispat m. = steel; dul m. = cast iron (Munda) kara'elephant's trunk' Rebus: khar'blacksmith'; ibha'elephant' rebus: ib'iron'. Together: karaibā 'maker, builder'.


Use of such glosses in Meluhha speech can be explained by the following examples of vAkyam or speech expressions as hieroglyph signifiers and rebus-metonymy-layered-cipher yielding signified metalwork:

Example 1: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) 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 of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) kaula mengro ‘blacksmith’ (Gypsy) mleccha-mukha (Samskritam) = milakkhu‘copper’ (Pali) The Samskritam gloss mleccha-mukha should literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix.


Example 2: samṛobica, stones containing gold (Mundari) samanom = an obsolete name for gold (Santali) [bica‘stone ore’ (Munda): meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda)].

In addition to the use of hieroglyph-components to create hieroglyph-multiplexes of pictorial motifs such as 'composite animals', the same principle of multiplexing is used also on the so-called 'signs' of texts of inscriptions.


Smithy with an armourer
http://www.harappa.com/indus/32.html Seal. Mohenjo-daro. Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script symbols. In the centre is a horned crocodile (gharial) surrounded by other animals including a monkey.


In these seals of Mohenjo-daro ‘horned crocodile’ hieroglyph is the center-piece surrounded by hieroglyphs of a pair of bullocks, elephant, rhinoceros, tiger looking back and a monkey-like creature. 

Obverse of m1395 and m0441 had the following images of a multi-headed tiger.
 

Ta. kōṭaram monkeyIr. kōḍa (small) monkey;  kūḍag  monkey.  Ko. ko·ṛṇ small monkey. To. kwṛṇ  monkey.  Ka. kōḍaga monkey, ape. Koḍ. ko·ḍë monkey. Tu.  koḍañji, koḍañja, koḍaṅgů baboon. (DEDR 2196). kuṭhāru = a monkey (Sanskrit) Rebus: kuṭhāru ‘armourer or weapons maker’(metal-worker), also an inscriber or writer.


Pa. kōḍ (pl. kōḍul) horn; Ka. kōḍu horn, tusk, branch of a tree; kōr horn Tu. kōḍů, kōḍu horn Ko. kṛ (obl. kṭ-)( (DEDR 2200) Paš. kōṇḍā ‘bald’, Kal. rumb. kōṇḍa ‘hornless’.(CDIAL 3508). Kal. rumb. khōṇḍ a ‘half’ (CDIAL 3792).

Rebus: koḍ 'workshop' (Gujarati) Thus, a horned crocodile is read rebus: koḍ khar 'blacksmith workshop'. khar ‘blacksmith’ (Kashmiri) kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.

Hieroglyph: Joined animals (tigers): sangaḍi = joined animals (M.) 

Rebus 1: sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda)(CDIAL 12845) 

Rebus 2: sang संग् m. a stone  (Kashmiri) sanghāḍo (G.) = cutting stone, gilding; sangatarāśū = stone cutter; sangatarāśi = stone-cutting; sangsāru karan.u = to stone (S.), cankatam = to scrape (Ta.), sankaḍa (Tu.), sankaṭam = to scrape (Skt.) 

kol 'tiger' Rebus: kol 'working in iron'. Thus, the multi-headed tiger yields one reading: rebus: kol sangaḍi 'fortified place for metal (& ore stone) workers'.

Rebus 3: saMghAta 'caravan'

Thus, the three tigers together with wings reads: eraka kol saMghAta 'moltencast metal, iron worker caravan'.

सं-घात b [p= 1130,1] a company of fellow-travellers , caravan VP. close union or combination , collection , cluster , heap , mass , multitude TS. MBh. &c (Monier-Williams)

सं-गत [p= 1128,2] mfn. come together , met , encountered , joined , united AV. &cm. (scil. संधि) an alliance or peace based on mutual friendship Ka1m. Hit.n. frequent meeting , intercourse , alliance , association , friendship or intimacy with (instr. gen. , or comp.Kat2hUp. Mn. MBh. &n.  agreement MBh.fitted together , apposite , proper , suitable , according with or fit for (comp.Ka1v. Katha1s. (Monier-Williams)



Three entwined winged tigers (Sanchi)  kola ‘tiger, jackal’ (Konkani.) kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi) Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that of Santals’ (Santali) kol ‘working in iron’ (Tamil)
 Phonetic determinant glyph: kola, kōlu ‘jackal, jackal’ (Kon.Telugu) kul ‘the tiger, felis tigris’ (Santali) कोला [ kōlā ] m (Commonly कोल्हा) A jackal. कोल्हें [ kōlhēṃ ] n A jackal. Without reference to sex. Pr. अडलें कोल्हें मंगळ गाय Even the yelling jackal can sing pleasantly when he is in distress. कोल्हें लागलें Applied to a practical joke. केल्हेटेकणें or कोल्हेटेकण [ kēlhēṭēkaṇē or ṅkōlhēṭēkaṇa ] n Gen. in obl. cases with बस or ये, as कोल्हेटेकण्यास बसणें To sit cowering; to sit as a jackal.कोल्हेटेकण्यास येणें To be arrived at or to be approaching the infirmities of age. 2 To be approaching to setting;--used of the sun or the day, when the sun is conceived to be about that distance from the horizon as a jackal, when he rests on his hinder legs, is from the ground. कोल्हेभूंक [ kōlhēbhūṅka ] or -भोंक f (कोल्हा & भुंकणें To bark.) The yelling of jackals. 2 Early dawn; peep of day. कोल्हेहूक [ kōlhēhūka ] f The yelling of jackals. 2 fig. Assailing or setting upon with vehement vociferations. (Marathi) See: http://bharatkalyan97.blogspot.in/2011/10/itihasa-and-eagle-narratives.html

kul tiger; kul dander den of tiger; an.d.kul to become tiger; hudur. to growl as tiger; maran. d.at.kap kul a big-headed tiger (Santali.lex.) kolo, kolea_ jackal (Kon.lex.) ko_lhuya-, kulha- jackal (Pkt.)[cf. kul.l.a-nari jackal (Ta.)(DEDR 1839)]; kolha_, ko_ jackal; adj. crafty (H.); kohlu~, kolu~ jackal (G.); kolha_, kola_ (M.)(CDIAL 3615). karaj a jackal (Santali.lex.) kudke fox (Kor.); kudike jackal (Tu.); kudka id. (Ka.); kor-o naka jackal (small in size, opposed to peri naka)(Kond.a)(DEDR 1851). kulaippu barking, snarling (Ta.)(DEDR 1811). ko_lupuli = big tiger (Te.)


Allograph: kola ‘woman’ (Nahali); kolami ‘forge’ (Te.).kolhe ‘iron smelter’ (Santali) kol, kolhe ‘the koles, an aboriginal tribe of iron smelters akin to that of the Santals’ (Santali) kola bride, son's wife, younger brother's wife (Nk.); koral younger brother's wife; kommal (pl. kommasil) daughter (Nk.); kor.ol bride (Pa.); kor.al son's wife, younger brother's wife; kod.us-, kod.c- to sprout (Ga.); kor.iya ga_r. son's wife, younger brother's wife (Mand..); kur.a, kr.ua, kr.uha wife (Kui); kur.ia, ku_ria daughter-in-law; kur.va younger brother's wife (Kuwi); kor.gi young (of children); qro infant (Malt.); xarruni_ wife (Br.)(DEDR 2149). kur.i_ woman, wife (Phal.); ku_ru young girl; ko_r.i_, kur.hi_ (K.); kur.a_ bridegroom (L.); kur.i_ girl, virgin, bride; woman (L.); girl, daughter (P.); kur.i, kul.i_, kol.a_ boy; kur.i_ girl (WPah.); a~_t.-kur.a_ childless (a~_t.a tight)(B.); ko_ son; ku_i_ daughter (WPah.); ko son; koi daughter; kua_, ko_i_, koa_, ku_i_ (WPah.)(CDIAL 3245). kur.matt relationship by marriage (P.)(CDIAL 3234). kola ‘woman’ (Nahali. Assamese).

Furnace: kola_ burning charcoal (L.P.); ko_ila_ burning charcoal (L.P.N.); id. (Or.H.Mth.), kolla burning charcoal (Pkt.); koilo dead coal (S.); kwelo charcoal (Ku.); kayala_ charcoal (B.); koela_ id. (Bi.); koilo (Marw.); koyalo (G.)(CDIAL 3484). < Proto-Munda. ko(y)ila = kuila black (Santali): all NIA forms may rest on ko_illa.] koela, kuila charcoal; khaura to become charcoal; ker.e to prepare charcoal (Santali.lex.) kolime, mulime, kolume a fire-pit or furnace (Ka.); kolimi (Te.); pit (Te.); kolame a very deep pit (Tu.); kulume kanda_ya a tax on blacksmiths (Ka.); kol, kolla a furnace (Ta.); kolla a blacksmith (Ma.); kol metal (Ta.)(Ka.lex.) kol iron smelters (Santali.lex.) cf. kol working in iron, blacksmith (Ta.)(DEDR 2133). Temple; smithy: kol-l-ulai blacksmith's forge (kollulaik ku_t.attin-a_l : Kumara. Pira. Ni_tiner-i. 14)(Ta.lex.) kollu- to neutralize metallic properties by oxidation (Ta.lex.) kole.l smithy, temple in Kota village (Ko.); kwala.l Kota smithy (To.); kolmi smithy (Go.)(DEDR 2133). kollan--kamma_lai < + karmas'a_la_, kollan--pat.t.arai, kollan-ulai-k-ku_t.am blacksmith's workshop, smithy (Ta.lex.) lohsa_ri_ smithy (Bi.)(CDIAL 11162). cf. ulai smith's forge or furnace (Na_lat.i, 298); ulai-k-kal.am smith's forge; ulai-k-kur-at.u smith's tongs; ulai-t-turutti smith's bellows; ulai-y-a_n.i-k-ko_l smith's poker, beak-iron (Ta.lex.) Self-willed man: lo_hala made of iron (Skt.); lohar, lohariyo self-willed and unyielding man (G.)(CDIAL 11161). cf. goul.i, goul.ia_ herdsman (Kon.lex.) goil cowhouse, hut, pasture ground (P.); gol drove of cattle sent to another village (P.); go_uliya herdsman (Pkt.); goili_ (P.)(CDIAL 4259). kol brass or iron bar nailed across a door or gate; kollu-t-tat.i-y-a_n.i large nail for studding doors or gates to add to their strength (Ta.lex.) Tool-bag: lokhar bag in which a barber keeps his tools (N.); iron tools, pots and pans (H.); lokhar. iron tools (Ku.); lokhan.d. iron tools, pots and pans (H.); lokha~d. tools, iron, ironware (G.); iron (M.)(CDIAL 11171). lod.hu~ pl. carpenter's tools (G.)(CDIAL 11173). karuvi-p-pai instrument-case; barber's bag (Ta.lex.) cf. karuvu-kalam treasury, treasure-house (Ta.lex.) Cobbler's iron pounder: lohaga~ga_, lahau~ga_ cobbler's iron pounder (Bi.); leha~ga_ (Mth.); luha~_gi_ staff set with iron rings (P.); loha~_gi_ (H.M.); lavha~_gi_ (M.); laha~_gi_, loha~gi_ (M.)(CDIAL 11174). Image: frying pan: lohra_, lohri_ small iron pan (Bi.)(CDIAL 11160). lo_hi_ any object made of iron (Skt.); pot (Skt.); iron pot (Pkt.); lo_hika_ large shallow wooden bowl bound with iron (Skt.); lauha_ iron pot (Skt.); loh large baking iron (P.); luhiya_ iron pan (A.); lohiya_ iron or brass shallow pan with handles (Bi.); lohiyu~ frying pan (G.)(CDIAL 11170). lauhabha_n.d.a iron pot, iron mortar (Skt.); lo_habhan.d.a copper or brass ware (Pali); luha~_d.ir.i_ iron pot (S.); luha~_d.a_ (L.); frying pan (P.); lohn.d.a_, lo~_hd.a_ (P.); luhu~r.e iron cooking pot (N.); lohora_ iron pan (A.); loha~r.a_ iron vessel for drawing water for irrigation (Bi.); lohan.d.a_, luhan.d.a_ iron pot (H.); lod.hu~ iron, razor (G.)[cf. xolla_ razor (Kur.); qole id. (Malt.); hola'd razor (Santali)(DEDR 2141)]; lod.hi_ iron pan (G.)(CDIAL 11173).

Rebus: kolimi 'smithy-forge'; kola 'tiger' Rebus: kol 'working in iron' kolhe 'smelters' kole.l 'smithy, temple'; eraka 'wing' Rebus: eraka 'copper'.

The artistic entwining of three tigers is seen on a seal with Indus Script from Mohenjo-daro. 

This can be seen as a precursor model for the three tigers/lions shown on a Sanchi torana (gateway). Out of the seven friezes showing a hieroglyph-multiplex of three winged tigers, one frieze adds hieroglyphs 'leafless stalks' as horns of two tigers; two riders are also added to signify the artisans at work:

Thus, tigers with wings joined reads: eraka kol saMghAta 'moltencast metal, iron worker caravan'. With  karaṇḍā 'stalks' as koD 'horns' and artisans (carrying goads or weapons or काण्डी kANDI 'little stalk or stem') hieroglyph components added: karaḍā eraka kol saMghAta 'hard alloy moltencast copper working in iron caravan' PLUS kuThAru 'armourer', or kamar 'artisan' PLUS koD 'workshop'. [In Udipi and coastal Dakshina Kannada districts of Karnataka, there is a practice of ‘Pili Kola’ worshiping Tiger. The festival is conducted once in every two years in Muggerkala Temple in Kaup.  http://www.bellevision.com/belle/index.php?action=topnews&type=3842
http://www.mangalorean.com/specials/specialnews.php?newsid=481755&newstype=local] Rebus: खांड (p. 202) [ khāṇḍa as in lokhaṇḍa  'metal tools, pots and pans, metalware' (Marathi). Thus the two riders of the hieroglyph-multiplex of stalk-as-horn PLUS winged tigers can be read as: armourers working in a smithy-forge, kolimi and with hard alloy, karaDa; moltencast metal, eraka. The riders seem to be arrying: कुठार (p. 167) [ kuṭhāra ] m S An ax or a hatchet. Hence, they are kuThAru 'armourers'.

mAtri is a knower, one who has true knowledge; hence, mahAmAtra is an elephant trainer. A mahout is a person who rides an elephant. The word mahout comes from the Hindi words mahaut (महौत) and mahavat (महावत), which eventually goes back to Sanskrit mahamatra (महामात्र). Another term for mahout is cornac (as in French, from the Portuguese; kornak in Polish, also a rather current last name). This word comes form Sanskrit term karināyaka, the compound of Sanskrit words karin (elephant) and nayaka (leader). In Tamil, the word used is "pahan", which means elephant keeper, and in Sinhalese kurawanayaka ('stable master'). In Malayalam the word used is paappaan.In Burma, the profession is called oozie; in Thailand kwan-chang; and in Vietnam quản tượng. https://en.wikipedia.org/wiki/Mahout

The 'horns' are 'stalks', hieroglyphs: कारंडा [ kāraṇḍā ]करंडा [ karaṇḍā ]  m A chump or block. the stock or fixed portion of the staff of the large leaf-covered summerhead or umbrella. A clump, chump, or block of wood. करांडा [ karāṇḍā ] m C A cylindrical piece as sawn or chopped off the trunk or a bough of a tree; a clump, chump, or block. करोळा [ karōḷā ] m The half-burnt grass of a Potter's kiln: also a single stalk of it. Kalanda [cp. Sk. karaṇḍa piece of wood?] heap, stack (like a heap of wood? cp. kalingara) Miln 292 (sīsa˚) (Pali) करण्ड [L=44277] n. a piece of wood , block Bhpr.

Rebus: fire-god: @B27990.  #16671. Remo <karandi>E155  {N} ``^fire-^god''.(Munda)

Allograph: करडी [ karaḍī ] f (See करडई) Safflower: also its seed.

Rebus: karaḍa ‘hard alloy’ (Marathi) See: http://tinyurl.com/qcjhwl2

It is notable that the 'stalks' as 'horns' of tigers on Sanchi South stupa architrave pillar are comparable to the three leafless stalks displayed on Sit Shamshi Bronze:

Why three? kolmo 'three' rebus: kolimi 'smithy, forge'; kole.l 'smithy, temple'.

Wooden marker or stone planted for the dead on Sit Shamshi bronze model


kol 'pancaloha, alloy of five metals' (Tamil) 

kolom = cutting, graft; to graft, engraft, prune; kolom dare kana = it is a grafted tree; kolom ul = grafted mango; kolom gocena = the cutting has died; kolom kat.hi hor.o = a certain variety of the paddy plant (Santali); kolom (B.); kolom mit = to engraft; kolom porena = the cutting has struck root; kolom kat.hi = a reed pen (Santali.lex.) ku_l.e stump (Ka.) [ku_li = paddy (Pe.)] xo_l = rice-sheaf (Kur.) ko_li = stubble of jo_l.a (Ka.); ko_r.a = sprout (Kui.) ko_le = a stub or stump of corn (Te.)(DEDR 2242). kol.ake, kol.ke, the third crop of rice (Ka.); kolake, kol.ake (Tu.)(DEDR 2154) kolma =  a paddy plant; kolma hor.o ‘ a variety of rice plant’ (Santali.lex.) [kural = corn-ear (Ta.)] 

Three stalks are adjacent to a stele which could have denoted the stone marker planted for the dead, Pitr-s. It may also denote meḍ ‘stake’ Rebus: mẽṛhẽt, meḍ ‘iron’(Munda. Ho.) Note: meḍ may refer to meteorite iron. mŏnḍ 1 म्वंड् m. (in Hindū mythology) the N. of a demon (in Skt., Muṇḍa) who with Caṇḍa was killed by Dēvī, the consort, or Śakti, of Śiva. mŏnḍa-daham म्वंड-दहम् । तिथिविशेषः the 'Muṇḍatenth', the tenth lunar day of the dark half of the month of Wāhĕkh (Skt., Vaiśākha) (April-May), on which the slaughter of Caṇḍa and Muṇḍa is celebrated. <munda>  {N} ``wooden ^marker or stone planted for the dead''.  @7722.  #20071.wana munda, 'the log harrow over which rice is threshed' (sic. L. 464;? wana-mọ̆nḍu). mọ̆nḍu । स्थाणुः m. the trunk or stump of a tree, including the solid part of the root (cf. mŏ̈nḍü 1) (El. múnd) (cf. khŏḍa-mo, p. 392a, l. 5, and nasta-mo, s.v. nast); a log, a heavy block of wood (Gr.Gr. 37, Śiv. 1856); a pillar; -- ˚ any clumsy lump (Rām. 631)(Kashmiri) muṇḍaka -- m. ʻ trunk of lopped tree ʼ lex. [Prob. of Drav. origin (A. Master BSOAS xii 354) with coalescence of two Drav. wordgroups (DED 4199, 4200); less likely Mu. connexions (J. Przyluski BSL xxx 199, PMWS 102). Not with P. Thieme ZDMG 93, 134 < *mr̥ṁṣṭa -- nor with P. Tedesco JAOS 65, 82 < vr̥ddha -- K. mŏnḍ  m. ʻ stump of a tree ʼ, f. ʻ thick underground stalk ʼ, mŏnḍuru m. ʻstump of a tree ʼ; S. muno ʻ blunt, less by a quarter ʼ, m. ʻ upright post of water -- or spinning -- wheel ʼ, munī f. ʻ post, stake ʼ; L. munn m. ʻ pillar, post ʼ, munnī f. ʻ post in middle of threshing floor, upright gravestone ʼ; P. munnī f. ʻ girl ʼ, muṇḍā m. ʻ boy ʼ, munnā m. ʻ penis, plough -- handle ʼ; Ku. mũṛo ʻ stump ʼ; Or. muṇḍa ʻ pollard, trunk ʼ, muṇḍā ʻ stump ʼ; Bi. mū̃ṛ, °ṛā, °ṛī ʻ ball at end of beam of sugar -- mill ʼ; Mth. mū̃ṛ ʻ trunk of cut tree ʼ, mū̃ṛā ʻ hornless ox ʼ, muṇḍā ʻ round cap covering the ears (worn by Brahmans) ʼ;Kho. mun ʻ stump of tree ʼ, (Lor.)  Sh. (Lor.) mūn, pl. °ní ʻ stump or bole of tree, stump of amputated leg or arm, maize stubble ʼ are either Bi. mũṛer, (Camparan) mũṛerā, (Gaya) mũṛerī ʻ masonry work at head of a well ʼ (semant. cf. SEBi. mūṛhā < *muḍḍha -- 1, and another name for the same: nirārī < nirākāra -- ʻ shapeless ʼ).WPah.kṭg. məṇḍēr, məḍēr f. (obl. -- a) ʻ fence, railing ʼ. (CDIAL 10191, 10192). 

kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace (Ka.); kolimi furnace (Te.); pit (Te.); kolame a very deep pit (Tu.); kulume kanda_ya a tax on blacksmiths (Ka.); kol, kolla a furnace (Ta.) kole.l smithy, temple in Kota village (Ko.); kwala.l Kota smithy (To.); konimi blacksmith; kola id. (Ka.); kolle blacksmith (Kod.); kollusa_na_ to mend implements; kolsta_na, kulsa_na_ to forge; ko_lsta_na_ to repair (of plough-shares); kolmi smithy (Go.); kolhali to forge (Go.)(DEDR 2133).] kolimi-titti = bellows used for a furnace (Te.lex.) kollu- to neutralize metallic properties by oxidation (Ta.) kol = brass or iron bar nailed across a door or gate; kollu-t-tat.i-y-a_n.i large nail for studding doors or gates to add to their strength (Ta.lex.) kollan--kamma_lai < + karmas'a_la_, kollan--pat.t.arai, kollan-ulai-k-ku_t.am blacksmith's workshop, smithy (Ta.lex.) cf. ulai smith's forge or furnace (Na_lat.i, 298); ulai-k-kal.am smith's forge; ulai-k-kur-at.u smith's tongs; ulai-t-turutti smith's bellows; ulai-y-a_n.i-k-ko_l smith's poker, beak-iron (Ta.lex.) [kollulaive_r-kan.alla_r: nait.ata. na_t.t.up.); mitiyulaikkollan- mur-iot.ir.r.an-n-a: perumpa_)(Ta.lex.) Temple; smithy: kol-l-ulai blacksmith's forge (kollulaik ku_t.attin-a_l : Kumara. Pira. Ni_tiner-i. 14)(Ta.lex.) cf. kolhua_r sugarcane milkl and boiling house (Bi.); kolha_r oil factory (P.)(CDIAL 3537). kulhu ‘a hindu caste, mostly oilmen’ (Santali) kolsa_r = sugarcane mill and boiling house (Bi.)(CDIAL 3538).
d.abe, d.abea ‘large horns, with a sweeping upward curve, applied to buffaloes’ (Santali)
d.ab, d.himba, d.hompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali) d.himba = become lumpy, solidify; a lump (of molasses or iron ore, also of earth); sadaere kolheko tahe_kanre d.himba me~r.he~t reak khan.d.ako bena_oet tahe_kana_ = formerly when the Kolhes were here they made implements from lumps of iron (Santali)

Sanchi Stupa. West gateway


Detail of three winged tigers on Sanchi Stupa as centre-piece on the top architrave and on left and right pillars (in three segments):

Left pillar:


 


Right pillar:




m0295 Mohenjo-daro seal
  This is a good example of hypertext with two categories of hypertext components: 1. pictorial motif hieroglyphs; 2. text hieroglyphs called signs in Indus Script Concordances such as those of Parpola and Mahadevan.



cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Allograph: sal ‘splinter’
Pict-61: Composite motif of three tigers
 Text1386 Note how the hieroglyph components of the text are displayed in the space available on the seal after the pictorial motif hieroglyphs have been put together as part of the hypertext. The broken corner of the seal may have included other 'text hieroglyphs called signs'.

Hieroglyph of ‘looking back’ is read rebus as kamar 'artisan': క్రమ్మరు [krammaru] krammaru. [Tel.] v. n. To turn, return, go  back. మరలు.  క్రమ్మరించు or  క్రమ్మరుచు  krammarinsu. V. a. To turn, send back, recall. To revoke, annul, rescind.క్రమ్మరజేయు.  క్రమ్మర krammara. Adv. Again. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు. krəm backʼ(Kho.)(CDIAL 3145) Kho. Krəm ʻ back ʼ NTS ii 262 with (?) (CDIAL 3145)[Cf. Ir. *kamaka – or *kamraka -- ʻ back ʼ in Shgh. Čůmč ʻ back ʼ, Sar. Čomǰ EVSh 26] (CDIAL 2776) cf. Sang. kamak ʻ back ʼ, Shgh. Čomǰ (< *kamak G.M.) ʻ back of an animal ʼ, Yghn. Kama ʻ neck ʼ (CDIAL 14356). Kár, kãr  ‘neck’ (Kashmiri) Kal. Gřä ʻ neck ʼ; Kho. Goḷ ʻ front of neck, throat ʼ. Gala m. ʻ throat, neck ʼ MBh. (CDIAL 4070)  Rebus: karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)

kolmo 'three' Rebus: kolimi 'smithy, forge'

kola 'tiger' Rebus: kol 'working in iron'; kolle 'blacksmith'; kolimi 'smithy, forge'; kole.l 'smithy, temple'

me ‘body’ Rebus: me ‘iron’ (Mu.) Vikalpa: kāḍ  2 काड् a man's length, the stature of a man (as a measure of length); rebus: kāḍ  ‘stone’; Ga. (Oll.) kanḍ , (S.) kanḍu (pl. kanḍkil)  stone

kaṇḍ kanka ‘rim of jar’; Rebus: karṇaka‘scribe’; kaṇḍ ‘furnace, fire-altar’. Thus the ligatured Glyph is decoded: kaṇḍkarṇaka ‘furnace scribe'
kole.l smithy, temple in Kota village (Ko.)

kōna corner (Nk.); tu. kōu angle, corner (Tu.); rebus: kõdā ‘to turn in a lathe’ (Bengali) Alternative reading; kanac 'corner' rebus: kancu 'bronze'

sal 'splinter' Rebus: sal 'workshop'

Thus, the message on the seal reads: me ‘iron’; kāḍ  ‘stone’;  karṇaka ‘furnace scribe'; kolimi 'smithy, forge' kole.l 'smithy, temple'; sal ‘workshop’ PLUS kõdā sal'turner workshop' (Alternative: kancu sal 'bronze workshop')

The entire hypertexts of pictorial and text hieroglyph components can thus be read using rebus-metonymy-layered-meluhha cipher as: 'iron stone furnace scribe smithy-forge, temple, turner or bronze workshop'.



cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Did the Bharhut architect who designed the Western Torana (Gateway) with hieroglyph multiplex of 3 tigers (winged) intend to send the message that the precincts are: Hieroglyph: cAli 'interlocking bodies' Rebus: sal 'workshop'?


Hieroglyph: kul 'tiger' (Santaliकोल्हें [ kōlhēṃ ] A jackal (Marathi) kol 'tiger, jackal' (Konkani.) kOlupuli 'tiger' (Telugu) కోలు [ kōlu ] kōlu. [Tel.] adj. Big, great, huge పెద్ద. కోలుపులి or కోల్పులి a royal tiger. Rebus: kolimi 'smithy, temple'; kol 'working in iron'. Thus kol(m) could have connoted a tiger. 

*ut-- śāla ʻ leaping up ʼ. (CDIAL 1846) śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex. Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xālxāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M. sāḷ f. ʻ workshop, school ʼ; Si. sal -- aha° ʻ hall, market -- hall ʼ.(CDIAL 12414) *kōlhuśālā ʻ pressing house for sugarcane or oilseeds ʼ. [*kōlhu -- , śāˊlā -- ] Bi. kolsār ʻ sugarcane mill and boiling house ʼ.(CDIAL 3538)  karmaśālā f. ʻ workshop ʼ MBh. [kárman -- 1, śāˊlā -- ]Pk. kammasālā -- f.; L. kamhāl f. ʻ hole in the ground for a weaver's feet ʼ; Si. kamhala ʻ workshop ʼ, kammala ʻ smithy ʼ.(CDIAL 2896) 2898 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. Md. kan̆buru ʻ blacksmith ʼ.(CDIAL 2898) *karmāraśālā ʻ smithy ʼ. [karmāˊra -- , śāˊlā -- ] Mth. kamarsārī; -- Bi. kamarsāyar?(CDIAL 2899)

I suggest that the three tigers with interlocked bodies DOES connote cāli 'interlocked bodies' Rebus-metonymy layered cipher yields the plain text message : kola 'tiger'> kolom 'three' PLUS cāli 'interlocked bodies' :kammasālā 'workshop' (Prakritam) < kol(m) PLUS śāˊlā, i.e. smithy workshop.


S. Kalyanaraman
Sarasvati Research Center
July 2, 2015

Decipherment of śākya, sakka , sakkia Bauddha lineage on Sanchi tōraṇa hieroglyphs molluscs, barb

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Mirror: http://tinyurl.com/pkrnfqp

Why are yakṣá , yakṣiṇī dominant, frequently recurring art forms on Sanchi or Bharhut stupa tōraṇa friezes and on Begram ivories? 

I suggest that the artists,  śilpi, architects are conveying the substantive identifier gloss with phonemic variants: śākya, sakka , sakkia -- to reinforce their lineage of the Buddha and/or adherance to Bauddham.

The hieroglyphs deployed convey the semantics:1. śāˊkhā f. ʻbranchʼ RV.Pa. sākhā 'branch'; 2. hāngi (Kashmiri) sã̄khī 'mollusc, snail' (Bengali);

3, śaṅkula 'barb': śaṅkulā शङ्कुला [शङ्क्-उलच् Uṇ.1.93] 1 A kind of knife or lancet.-2 A pair of scissors.-Comp.-खण्डः a piece cut off with a pair of scissors.शङ्कुः [शङ्क्-उण् Uṇ.1.36] 1 A dart, spear, spike, javelin, dagger; The sharp head or point of an arrow, barb.(Samskritam)

Hieroglyph on a Begram ivory plaque: a pair of molluscs tied with a chisel, barb:Tied: dhama ‘cord’ rebus: dhamma ‘dharma, virtuous conduct’ sangin ‘mollusc’ rebus: sangha ‘community’. Thus, dhamma guild has been identified by the hieroglyph multiplex.
Bharhut molluscs centre-piece on tōraṇa 
Sanchi tōraṇa molluscs centre-piece on hieroglyph multiplexes flanking ibbo vaThAra, merchant quarter'

The deployment of hieroglyphs of mollusc and tree branches on Sanchi artistic renderings of stupa friezes is intended to communicate -- rebus -- the substantive: śākyasakka , sakkia : śākya m. ʻ a Kṣatriya clan in Kapilavastu to which the Buddha belonged ʼ. 2. śākiya -- BHS ii 525.1. Pa. sakya -- , sakka -- ; Pk. sakka -- , sakkia -- m. ʻ a Buddhist ʼ.2. Pa. sākiya -- , Si. sähä -- , sā̤ -- .(CDIAL 12375).

These glosses are rebus-metonymy-layered signifiers (hieroglyphs) to signify hymonyms (similar sounding words but with different meaning) in (art forms: yakkha -- m. ʻ a supernatural being ʼ, yakkhī -- , yakkhiṇī - yakṣá , yakṣiṇī. 

Hieroglyph: śākhyá ʻ belonging to or resembling a branch, branching ʼ Pāṇ. [śāˊkhā -- ]
Phal. šākšākhā̆ (pl.?) ʻ wood, tree ʼ.(CDIAL 12379) śāka1 m. ʻ the teak tree Tectona grandis ʼ Gr̥Śr., śākā- f. ʻ Terminalia chebula ʼ, śaṅku -- 2 m. ʻ a partic. tree ʼ lex. 2. *sākkhu -- . 3. *sāggu -- . [Cf. sarja -- ]1. Pa. sāka -- m. ʻ teak tree ʼ, Pk. sāga -- m., M. sāysāyāsāvāsã̄vāsāylā m.
2. N. sakhuwā, H. sākhūsã̄khūsakhuā m.3. S. sāg̠ū m.(CDIAL 12369) *śākavanya ʻ teak forest ʼ. 2. *sāgguvanya -- . [śāka -- 1 and *sāggu -- , vanya -- ]1. M. sāyvān n. ʻ teak forest ʼ.
2. P. sāgūn m. ʻ teak ʼ, N. sagwānsāgun, Or. sāguāna°āṇi ( --  -- ?), H. sāgū˘n°gaun°gon 
m., sāgwān f., G. sāgvān m.; M. sāgvān m. ʻ teak forest, teak tree ʼ(CDIAL 12374)  śāˊkhā f. ʻ branch ʼ RV.Pa. sākhā -- f., °kha -- n. ʻ branch ʼ, Pk. sāhā -- f.; Ash. ċausau ʻ branch, ear of corn ʼ; Wg. ċāwċōw ʻ branch ʼ, Kt. ċåw f., Pr. ċāw; WPah.jaun.śã̄h ʻ bough ʼ; Or. sāhā ʻ branch, crossbars between shafts of bullock carts ʼ, sāhi ʻ line, row, row of neighbouring houses ʼ; Si.  ʻ branch ʼ; -- ext. -- l -- : Pk. sāhulī -- , °liā -- f. ʻ branch ʼ; Ku. saũlā pl. ʻ green shoots or twigs ʼ; N. syāulo ʻ a cut branch ʼ; M. sāūḷ f.n., sāvḷī f. ʻ branch of various trees (palm, coconut, betel) ʼ.WPah.kṭg. śã̄ f. (śaĩ) ʻ branch ʼ, jaun. śã̄h.(CDIAL 12376)

Hieroglyph: mollusc: śāṅkhika ʻ relating to a shell ʼ W. 2. *śāṅkhinī -- (śaṅkhinī -- f. ʻ mother -- of -- pearl ʼ Bālar.). [śaṅkhá -- 1]1. K. hāngi ʻ snail ʼ; B. sã̄khī ʻ possessing or made of shells ʼ.2. K. hö̃giñ f. ʻ pearl oyster shell, shell of any aquatic mollusc ʼ.(CDIAL 12380)

sákhi (nom. sg. sákhā) m. ʻ friend ʼ RV. 2. sakhīˊ -- f. ʻ woman's confidante ʼ MBh., ʻ a mistress ʼ VarBr̥S. 1. Pa. sakhā nom. sg. m. ʻ friend ʼ, Pk. sahi -- m.; N. saiyã̄ ʻ lover, paramour, friend ʼ (or < svāmín -- ); A. xaï ʻ friend ʼ, xaiyā ʻ partner in a game ʼ; Si. saha ʻ friend ʼ (< nom. sákhā or < sahāya -- ?). 2. Pa. sakhī -- , sakhikā -- f. ʻ woman's female friend ʼ, Pk. sahī -- , °hiā -- f., B. sai, Or. sahisaï, H. poet. saïyo f., G. saï f., M. saysaī f. -- Ext. -- -- : OMarw. sahalaṛī f. ʻ woman's female friend; -- -- r -- : G. sahiyarsaiyar f.; -- -- ll -- (cf. sakhila -- ): S. L. P. sahelī f. ʻ woman's female friend ʼ, N. saheli, B. saylā, OAw. sahelī f.; H. sahelī f. ʻ id., maidservant, concubine ʼ; OMarw. sahalīsahelī ʻ woman's female friend ʼ, OG.sahīlī f., M. sahelī f.(CDIAL 13074)

Rebus: jākjakhnī: yakṣá m. ʻ a supernatural being ʼ MaitrUp. (n. ʻ mani- festation ʼ RV.), yakṣī -- , yakṣiṇī -- f. MBh. Pa. yakkha -- m. ʻ a supernatural being ʼ, yakkhī -- , yakkhiṇī -- f., Pk. jakkha -- m., jakkhiṇī -- f.; Ash. yušyüš ʻ ogre ʼ, yuštrīˊk ʻ ogress ʼ (+ strīˊ -- ); Kt. yuṣ ʻ female demon ʼ, Wg. yūṣ; Pr. yuṣ ʻ demon ʼ; Kal.rumb. J̣ac̣ ʻ female demon ʼ; Sh. (Lor.) yac̣ m. ʻ demon ʼ, yac̣ini f., y*lc̣(h)olo ʻ demon like a bear ʼ, (Grahame Bailey) yac̣hălʻ mad ʼ, yac̣hălyār f. ʻ madness ʼ; K. yĕchyẹ̆ch m. ʻ a kind of fairy ʼ, yĕchiñ f., yochu m. ʻ a spirit ʼ; P. jakkh m. ʻ demigod, devout worshipper ʼ, f. ʻ ogress ʼ; H. jāk m. ʻ demon ʼ, jakhnī f. ʻ female demon in the service of Durgā ʼ; OG.jākhajākhala m. ʻ demon ʼ; M. j̈akhīṇj̈ãkīṇ (with  after ḍãkīṇ s.v. ḍākinī -- ) f. ʻ ghost of a woman who died in childbirth or drowned herself ʼ,j̈ākhīṇj̈ã̄khīṇ f. ʻ old and ugly woman ʼ, j̈akhāī -- j̈ukhāī f. ʻ two female fiends, minor deities and demons in general ʼ (f. from m. *jākhā); Si. yak -- ā ʻ demon ʼ, yakin -- īyakinna f. (with a for ä after m. yak -- ā); -- Kho. ẓoc̣ ʻ unruly (of children), knotty, complicated ʼ BelvalkarVol 98 with (?); Ku. jākhaṛ ʻ idiot ʼ; N. jakkhu ʻ huge ʼ; -- Bi. jāk ʻ a cowdung cake called mahāde placed on a grain heap to ward off evil eye ʼ?(CDIAL 10395) yĕch 1 यछ् or yẹ̆ch य&above;छ् । यक्षः m. (sg. dat. yẹ̆chas य&above;छस्; f. sg. nom. yẹ̆chiñ य&above;छिञ्), a kind of demi-god attendant on Kubēra, the god of riches, and employed in guarding his treasures, etc. (Skt. yakṣa) (Rām. 1475, K. 123); (in Ksh.) a kind of fairy or Kobold (cf.bŏdi-yo, p. 83b, l. 46; gasa-yo, p. 37a, l. 34; pã̄-yo, p. 748a, l. 38; ʦhŏṭa-yo, p. 163a, l. 5) (K. 299, spelt yĕʦhy); a hyena (El. yachh, K.Pr. 134).

yẹ̆cha-(or yĕcha-)gaṭa य&above;छ-(यछ)गट । अन्धतमसम् f. the pitch darkness of the night of the dark half of the winter month of Pŏh (December-January) (believed to be particularly haunted by these Kobolds) 
yĕchiñ यछिञ् or yẹ̆chiñ य&above;छिञ् । यक्षिणी f. of yĕch 1, q.v. a female fairy or Kobold; a Kobold's wife.(Kashmiri)

యక్షుడు [ yakṣuḍu ] yakshuḍu. [Skt.] n. A demigod. దేవయోనివిశేషము, కుబేరాదియక్షజాతుడు. Kubēra, కుబేరుడుயக்கதரு yakkataru n. < yakṣa-taru. The banyan tree; ஆலமரம். (இலக். அக.) யக்கராசன் yakka-rācaṉ n. < yakṣa-rāja. Kubēra, as the lord of the Yakṣas; [இயக்கர் களுக்கு அரசன்] குபேரன். (யாழ். அக.)யக்கராத்திரி yakka-rāttiri
n. < yakṣa யக்கன் yakkaṉ 

n. < yakṣa. 1. Yakṣa. See இயக்கன், 1. (W.) 2. Kubēra. See இயக்கன், 2. (யாழ். அக.)


இயக்கம்¹ iyakkam n. < இயங்கு-. 1. Motion; moving about, as showing signs of life; இயங்குகை. (குறள், 1020.) 2. Expression, as of the eyes; குறிப்பு. கண்ணிணையியக்கம் (மணி. 25. 8). 3. Way, path; வழி. எறிநீ ரடைகரை யியக்கந் தன்னில் (சிலப். 10, 90). 4. A musical composition, of four different kinds, viz., முத னடை, வாரம், கூடை, திரள்; இசைப்பாட்டுவகை. (சிலப். 3, 67.) 5. Pitch of three kinds, viz., வலிவு, மெலிவு, சமன் or high, low and middle; சுருதி. (சிலப். 8. 42.) 6. Greatness, excellence; பெருமை. (திவா.) 7. Excrement; மலசலங்கள். ஈரியக்க நடைவழி . . . விடுதல் (காஞ்சிப்பு. ஒழுக்க. 42).*இயக்கம்² iyakkamn. < yakṣa. The north quarter, which is the abode of the Yakṣas; வட திசை. (W.)*இயக்கர் iyakkarn. < id. Yakṣas, a class of celestials; one of patineṇ-kaṇam, q.v.; பதினெண்கணத்து ளொரு கணத்தார். (கம்பரா. தாடகை. 26.)*இயக்கர்கோமான் iyakkar-kōmāṉn. < id. +. Kubēra, king of the Yakṣas; குபே ரன். (சூடா.)*இயக்கர்வேந்தன் iyakkar-vēntaṉn. < id. +. See இயக்கர்கோமான். (பிங்.)*இயக்கன் iyakkaṉn. < yakṣa. 1. Yakṣa; இயக்ககணத்தான். (கம்பரா. தாடகை. 26.) 2. Ku- bēra, king of the Yakṣas; குபேரன். (திவா.)*இயக்கி iyakkin. < yakṣī. 1. Female Yakṣa; யக்ஷப்பெண். (சீவக. 1219.) 2. Goddess of virtue; தருமதேவதை. (பிங்.)

இயக்கு¹-தல் iyakku-5 v. tr. caus. of இயங்கு-. 1. To cause to go; செலுத்துதல். தோணி யியக்குவான் (நாலடி. 136). 2. To actuate and influence the movements of, as God prompts all living beings; தொழிற்படுத்துதல். 3. To train or break in, as a bull or a horse; பழக்கு தல். காளையை இயக்குகிறது. (W.) 4. To cause to sound; ஒலிப்பித்தல். கோடுவாய் வைத்துக் கொடுமணி யியக்கி (திருமுரு. 246).இயக்கு² iyakkun. < இயங்கு. Motion, as of a stream; going, marching; போக்கு. நீரியக் கென்ன நிரைசெல னெடுந்தேர் (மலைபடு. 571).இயங்கியற்பொருள் iyaṅkiyaṟ-poruḷn. < id. +. Living, animate beings or beings which move from place to place; opp. to நிலை யியற்பொருள்; சரப்பொருள். (நன். 259, விருத்.)இயங்கு¹-தல் iyaṅku-5 v. intr. [M. iyaṅṅu.] 1. To move, stir; அசைதல். 2. To go, travel, proceed; போதல். (திவா.) 3. To walk about. promenade; உலாவுதல். (பிங்.)இயங்கு² iyaṅkun. < இயங்கு- Movement, act of going; செல்லுகை. இயங்கிடை யறுத்த கங்குல் (சீவக. 1360).இயங்குதிணை iyaṅku-tiṇain. < id. +. Class of things that move, opp. to நிலைத்திணை; சரப்பொருள். (நன். 299, விருத்.)

Ta. iyaṅku (iyaṅki-) to move, stir, go, proceed, walk about; n. movement, act of going; iyakku (iyakki-) to cause to go, train or break in (as a bull or horse); n. motion, going, marching; iyakkam motion, moving about, way; icaṅku (icaṅki-) to go or lead to (as a way); icai (-pp-, -tt-) to bring about; iyal (iyalv-, iyaṉṟ-; iyali-) to go on foot, dance; n. pace, gait; iyavu way; leading, proceeding; iyavuḷ leadership, god, way; iyavaiway, path. Ma. iyaṅṅuka to move steadily; iyakkuka to cause to move; iyakkam motion, movement. Ko. i·y- (i·c-), i·c- (i·c-) to drive (cattle).Ka. (PBh.) esagu to drive.(DEDR 469)

Yaksha (Sanskrit: यक्ष yakṣa) is the name of a broad class of nature-spirits, usually benevolent, who are caretakers of the natural treasures hidden in the earth and tree roots. The feminine form of the word is yakṣī (यक्षी)[3] or Yakshini (yakṣiṇī, यक्षिणी).For yakṣiṇī (यक्षिणी) as a regular Sanskrit term for a female yakṣa, and yakṣaṇī as a Buddhist variant, see Franklin Edgerton, Buddhist Hybrid Sanskrit Grammar and Dictionary, vol. 2., Motilal Banarsidass, First Edition, 1953, p. 442. "...in the didactic Hindu dialogue of theYakṣapraśnāḥ "Questions of the Yakṣa", it is a tutelary spirit of a lake that challengesYudhiṣṭhira. The yakṣas may have originally been the tutelary gods of forests and villages, and were later viewed as the steward deities of the earth and the wealth buried beneath.In Indian art, male yakṣas are portrayed either as fearsome warriors or as portly, stout and dwarf-like. Female yakṣas, known as yakṣiṇīs, are portrayed as beautiful young women with happy round faces and full breasts and hips...In Buddhist literature, the yakṣa are the attendants of Vaiśravaṇa, the Guardian of the Northern Quarter, a beneficent god who protects the righteous. The term also refers to the Twelve Heavenly Generals who guard Bhaiṣajyaguru, the Medicine Buddha.


According to the Mahavamsa, Prince Vijaya encountered the royalty of the Yakkhas queen Kuveni in the Yakkha capital of Lankapura and conquered them...Jains mainly worship idols of Arihants and Tirthankaras, who have conquered the inner passions and attained God-consciousness status. Some Jains also believe that Yaksha and Yakshini look after the well-being of the Tirtha. Usually, they are found in pair around the idols of Jinas as male (yaksha) and female (yakshini) guardian deities. Yaksha is generally on the right-hand side of the Jina idol and Yakshini on the left-hand side. In earlier periods, they were regarded mainly as devotees of Jina, and have supernatural powers. They are also wandering through the cycles of births and deaths just like the worldly souls, but have supernatural powers.https://en.wikipedia.org/wiki/Yaksha


Equivalent terms in other languages include: Pali: यक्ख yakkha,(For yakkha as a "rare use in Pali" see Franklin Edgerton, Buddhist Hybrid Sanskrit Grammar and Dictionary, vol. 2., Motilal Banarsidass, First Edition, 1953, p. 442.) Tamil: யக்கர், Kannada: ಯಕ್ಷ, Yākka, Thai: ยักษ์ yaksa, Vietnamese: dạ xoa, Chinese: 夜叉 yèchā or 藥叉 yàochā, Korean: 야차/夜叉 yacha, Japanese: 夜叉 yasha, Burmese: ဘီလူး [bìlú], Standard Tibetan: གནོད་སྦྱིན་ gnod sbyin


yakṣá m. ʻ a supernatural being ʼ MaitrUp. (n. ʻ mani- festation ʼ RV.), yakṣī -- , yakṣiṇī -- f. MBh.

Pa. yakkha -- m. ʻ a supernatural being ʼ, yakkhī -- , yakkhiṇī -- f., Pk. jakkha -- m., jakkhiṇī -- f.; Ash. yušyüš ʻ ogre ʼ, yuštrīˊk ʻ ogress ʼ (+ strīˊ -- ); Kt. yuṣ ʻ female demon ʼ, Wg. yūṣ; Pr. yuṣ ʻ demon ʼ; Kal.rumb. J̣ac̣ ʻ female demon ʼ; Sh. (Lor.) yac̣ m. ʻ demon ʼ, yac̣ini f., y*lc̣(h)olo ʻ demon like a bear ʼ, (Grahame Bailey) yac̣hăl&lacutebrev;tu ʻ mad ʼ, yac̣hălyār f. ʻ madness ʼ; K. yĕchyẹ̆ch m. ʻ a kind of fairy ʼ, yĕchiñ f., yochu m. ʻ a spirit ʼ; P. jakkh m. ʻ demigod, devout worshipper ʼ, f. ʻ ogress ʼ; H. jāk m. ʻ demon ʼ, jakhnī f. ʻ female demon in the service of Durgā ʼ; OG.jākhajākhala m. ʻ demon ʼ; M. j̈akhīṇj̈ãkīṇ (with  after ḍãkīṇ s.v. ḍākinī -- ) f. ʻ ghost of a woman who died in childbirth or drowned herself ʼ,j̈ākhīṇj̈ã̄khīṇ f. ʻ old and ugly woman ʼ, j̈akhāī -- j̈ukhāī f. ʻ two female fiends, minor deities and demons in general ʼ (f. from m. *jākhā); Si. yak -- ā ʻ demon ʼ, yakin -- īyakinna f. (with a for ä after m. yak -- ā); -- Kho. ẓoc̣ ʻ unruly (of children), knotty, complicated ʼ BelvalkarVol 98 with (?); Ku. jākhaṛ ʻ idiot ʼ; N. jakkhu ʻ huge ʼ; -- Bi. jāk ʻ a cowdung cake called mahāde placed on a grain heap to ward off evil eye ʼ?(CDIAL 10395)

यक्ष [p=838,2] n. a living supernatural being , spiritual apparition , ghost , spirit RV. AV. VS. Br. Gr2S3rS. (accord. to some native Comms. = यज्ञ , पुजा , पूजित &c m. N. of a class of semi-divine beings (attendants of कुबेर , exceptionally also of विष्णु ; described as sons of पुलस्त्य , of पुलह , of कश्यप , of खसा or क्रोधा ; also as produced from the feet of ब्रह्मा ; though generally regarded as beings of a benevolent and inoffensive disposition , like the यक्ष inकालिदास's मेघ-दूत , they are occasionally classed with पिशाचs and other malignant spirits , and sometimes said to cause demoniacal possession ; as to their position in the Buddhist system »MWB. 206 , 218Up. Gr2S. Mn. MBh. &c m. N. of कुबेर VarYogay.m. of इन्द्र's palace L.m. N. of कुबेर's wife L.


व्य्--न्तर [p=1028,3] m. " occupying an intermediate position " , (with जैनs) N. of a class of gods (including पिशाचs ,भूतs , यक्षs , राक्षसs , किं-नरs , किम्-पुरुषs , महो*रगs and गन्धर्वs) S3atr. HParis3. Pan5cat. &c  व्य्--न्तरी f. a deity of the above class Campak. HParis3.


Vimāna1 (nt.) [in the Pāli meaning not Vedic. Found in meaning "palace -- chariot" in the Mbhārata and elsewhere in Epic Sk.] lit. covering a certain space, measuring; the defns given by Dhpāla refer it to "without measure," i. e. immeasurable. Thus=vigata -- māne appamāṇe mahanta vara -- pāsāda VvA 131;=visiṭṭhamānaŋ, pamāṇato mahantaŋ VvA 160. -- Appld meaning: heavenly (magic) palace, a kind of paradise, elysium. -- 1. General remarks: (a) The notion of the vimāna is peculiar to the later, fantastic parts of the Canon, based on popular superstition (Vimāna & Peta Vatthu, Apadāna, Jātaka and similar fairy tales). It shows distinct traces of foreign (Hellenic -- Babylonian) influence and rests partly on tales of sea -- faring merchants (cp. location of V. in mid -- ocean). On the other hand it represents the old (Vedic) ratha as chariot of the gods, to be driven at will (cp. below 5, 7, 8). Thus at Vv 16 (here as 500 chariots!), 36, 63, 64; J i.59 (deva -- vimānasadisa ratha). -- (b) The vimānas are in remote parts of the world (cp. the island of the blessed), similar to the elysium in Homer's Odyssey, e. g. iv.563 sq.: s)e)s *)hlu/sion pedi/on kai\ pei/rata gai/hs a)qa/natoi pemyousin etc. (trsln G. Chapman: "the immortal ends of all the earth, the fields Elysian Fate to thee will give; where Rhadamanthus rules, and where men live a nevertroubled life, where snow, nor show'rs, nor irksome winter spends his fruitless pow'rs, but from the ocean zephyr still resumes a constant breath, that all the fields perfume"). Cp. Ehni, Yama p. 206 sq. -- (c) In popular religion the influence of this eschatological literature has been very great, so great in fact as to make the Vimāna and Peta -- vatthus & the Jātakastories, exemplifying the theory of retribution as appealing to an ordinary mind by vivid examples of mythology, greater favourites than any other canonical book. From this point of view we have to judge Mhvs 14, 58: Petavatthuŋ Vimānañ ca sacca -- saŋyuttaŋ eva ca desesi thero . . . -- 2. Thedescriptions of the Vimānas are in the most exuberant terms...vimāna devatāPvA 190; vemānika -- peta J v.2; PvA 244; DhA iii.192 (as powerful, by the side of nāgas & supaṇṇas). -- In their appearance they are like beautiful human beings, dressed in yellowish (pīta, expld as "golden" robes (cp. the angels in the oldest Christian apocalyptic literature: on their relation to Hellenic ideas see e. g. A. Dieterich, Nekyia, Leipzig 1903, pp. 10 -- 18, 29: red & white the colours of the land of the blessed), with gold and silver as complementary outfit in person and surroundings...As tree -- vimānas with rukkha -- devatā as inhabitants they occur e. g. at J iii.310; v.502; Pv i.9; ii.9; PvA 244. Very often they are phantasmagorical castles in the air. By special power of their inhabitants they may be transported to any place at will. This faculty of transference is combined with the ability of extremely swift motion (compared to the speed of thought: manojava). Thus a golden palanquin is suspended in mid -- air above a palace at VvA 6 (ākāsa -- cārin, sīgha -- java). They are said to be ākāsaṭṭhānāni J vi.117; SnA 222, 370 (but the palace of the Yakkha Āḷavaka is bhumma -- ṭṭha, i. e. stands on the ground, and is described as fortified: SnA 222). The place of a (flying) vimāna may be taken by various conveyances: a chair, an elephant, ship, bed, litter etc. Or the location of it in the other world is in the Cittalatāvana (Vv 37), or the Pāricchattaka tree (Vv 38), or in the Cātummahārājika -- bhavana (VvA 331). -- Later on, when the theory of meritorious deities (or departed souls raised to special rank) as vemānikā devā was established, their abode was with their vimānas settled among the Tāvatiŋsa (e. g. VvA 188, 217, 221, 244, 289; DhA iii.291), or in theTusita heaven. Thus Tusita -- pura interchanges with Tusita -- vimāna at DhA ii. 208. The latter occurs e. g. at DhA iii.173, 219. <-> 6. Thedimensions of the Vimānas are of course enormous, but harmonious (being "divine"), i. e. either of equal extent in all directions, or specially proportioned with significant numbers.


Vajira1 [cp. Vedic vajira, Indra's thunderbolt; Idg. *ṷeĝ=Sk. vaj, cp. Lat. vegeo to thrive, vigeo>vigour; Av. vaƶra; Oicel. vakr=Ags. wacor=Ger. wacker; also E. wake etc. See also vājeti] a thunderbolt; usually with ref. to Sakka's (=Indra's) weapon D i.95=M i.231 (ayasa); Th 1, 419; J i.134 (vajira -- pūritā viya garukā kucchi "as if filled with Sakka's thunderbolt." Dutoit takes it in meaning vajira2 and trsls "with diamonds"); SnA 225 (˚āvudha the weapon of Sakka).

   -- pāṇin having a thunderbolt in his hand (N. of a yakkha) D i.95=M. i.231.

Yakkha [Vedic yakṣa, quick ray of light, but also "ghost"; fr. yaks to move quickly; perhaps: swift creatures, changing their abode quickly and at will. -- The customary (popular) etym. of Pali Commentators is y. as quâsi grd. of yaj, to sacrifice, thus: a being to whom a sacrifice (of expiation or propitiation) is given. See e. g. VvA 224: yajanti tattha baliŋ upaharantī ti yakkhā; or VvA 333: pūjanīya -- bhavato yakkho ti vuccati. -- The term yakṣa as attendants of Kubera occurs already in the Upanishads.] 1. name of certain non -- human beings, as spirits, ogres, dryads, ghosts, spooks. Their usual epithet and category of being is amanussa, i. e. not a human being (but not a sublime god either); a being half deified and of great power as regards influencing people (partly helping, partly hurting). They range in appearance immediately above the Petas; many "successful" or happy Petas are in fact Yakkhas (see also below). They correspond to our "genii" or fairies of the fairy -- tales and show all their qualities. In many respects they correspond to the Vedic Piśācas, though different in many others, and of diff. origin. Historically they are remnants of an ancient demonology and of considerable folkloristic interest, as in them old animistic beliefs are incorporated and as they represent creatures of the wilds and forests, some of them based on ethnological features. See on term e. g. Dial. iii.188; on their history and identity Stede,Gespenstergeschichten des Peta Vatthu chap. v.; pp. 39 -- 44. -- They are sometimes called devatā: S i.205; or devaputtā: PvA 113, 139. A female Yakkha is called yakkhinī (q. v.).

  2. Their usual capacity is one of kindness to men (cp. Ger. Rūbezahl). They are also interested in the spiritual welfare of those humans with whom they come into contact, and are something like "tutelary genii" or even "angels" (i. e. messengers from another world) who will save prospective sinners from doing evil (cp. Pv iv.1). They also act as guides in the "inferno": Pv iv.11, cp. iv.3. A somewhat dangerous "Mentor" is represented at D i.95, where the y. Vajirapāṇī threatens to slay Ambaṭṭha with an iron hammer, if he does not answer the Bhagavā. He is represented as hovering in the air; Bdhgh. (DA i.264) says on this: na yo vā so vā yakkho, Sakko devarājā ti veditabbo: it is to be understood not as this or that y., but as Sakka the king of devas. -- Whole cities stand under the protection of, or are inhabited by yakkhas; D ii.147 (ākiṇṇa -- yakkha full of y.; thus Āḷakamandā may here mean all kinds of supra -- mundane beings), cp. Lankā (Ceylon) as inhabited by y.: Mhvs 7, 33. -- Often, however, they are cruel and dangerous. The female yakkhas seem on the whole more fearful and evil-natured than the male (see under yakkhinī). They eat flesh and blood: J iv.549; devour even men: D ii.346; J ii.15 -- 17, or corpses: J i.265; mentioned under the 5 ādīnavā (dangers) at Aiii.256. A yakkha wants to kill Sāriputta: Ud 4.
  3. Var. classes of y. are enumd at D ii.256, 257; in a progressive order they rank between manussa and gandhabba at A ii.38; they are mentioned with devas, rakkhasas, dānavas, gandhabbas, kinnaras and mah'oragas at J v.420. According to VvA 333 Sakka, the 4 great kings (lokapālā), the followers of Vessavaṇa (alias Yama, the yakkhas proper) and men (see below 7) go by the name of yakkha. -- Sakka, the king of the devas, is often named yakkha: J iv.4; DA i.264. Some are spirits of trees (rukkha -- devatā): J iii.309 345; Pv i.9; ii.9; PvA 5; are also calledbhumma -- devā (earthly deities) PvA 45, 55. Their cult seems to originate primarily from the woods (thus in trees: Pv ii.9; iv.3), and secondarily from the legends of sea -- faring merchants (cp. the story of the flyingDutchman). To the latter origin point the original descriptions of a Vimānaor fairy -- palace, which is due to a sort of mirage. These are usually found in or at the sea, or in the neighbourhood of silent lakes, where the sense of hauntedness has given rise to the fear of demons or supernatural witchcraft. Cp. the entrances to a Vimāna by means of a dried -- up river bed (Pv i.9; ii.12) and the many descriptions of the Vimānas in the Lake -- districts of the Himavant in Vv. (See Stede, Peta Vatthu trsln p. 104 sq.)
  4. Their names too give us a clue as to their origin and function. These are taken from (a) their bodily appearance, which possesses many of the attributes of Petas, e. g. Khara "Rough -- skin" or "Shaggy" Sn p. 48 (=khara -- samphassaŋ cammaŋ SnA 302), also as Khara -- loma "Rough -- hair" Vism 208; Khara -- dāṭhika "Rough -- tooth" J i.31. Citta "Speckled" Mhvs 9, 22; 10, 4; also as Citta -- rājā J ii.372; Mhvs 10, 84. Silesa -- loma "Sticky -- hair" J i.273. Sūci -- loma "Needlehair" Sn p. 47, 48; S i.207; Vism 208; SnA 302. -- (b) places of inhabitance, attributes of their realm, animals and plants, e. g. Ajakalāpaka "Goat -- bundle" Ud 1. Āḷavaka "Forest -- dweller" J iv.180; vi.329; Mhvs 30, 84: Vism 208.Uppala "Lotus" DhA iv.209. Kakudha "K. -- tree" (Terminalia arjuna) S i.54. Kumbhīra "Crocodile" J vi.272. Gumbiya either "One of a troop" (soldier of Yama) or "Thicket -- er" (fr. gumba thicket) J iii.200, 201. Disāmukha "Sky-facer" DhA iv.209. Yamamoli "Yamachignon" DhAiv.208. Vajira "Thunderbolt" DhA iv.209; alias Vajira -- pāṇī D i.95, or Vajira -- bāhu DhA iv.209. Sātāgira "Pleasant -- mount" D ii.256; Sn 153; J iv.314; vi.440. Serīsaka "Acacia -- dweller" VvA 341 (the messenger of Vessavaṇa). -- (c) qualities of character, e. g. Adhamma "Unrighteous" Miln 202 (formerly Devadatta). Katattha "Well -- wisher" DhA iv.209. Dhamma "Righteous" Miln 202 (=Bodhisatta). Puṇṇaka "Full( -- moon?)" J vi.255 sq. (a leader of soldiers, nephew of Vessavaṇa). Māra the "Tempter" Sn 449; S i.122; M i.338. Sakata "Waggon -- load" (of riches) DhA iv.209 -- (d) embodiments of former persons, e. g. Janavasabha "Lord of men" D ii.205. Dīgha M i.210. Naradeva J vi.383, 387. Paṇḍaka "Eunuch" Mhvs 12, 21. Sīvaka S i.241=Vin ii.156. Serī "Self -- willed" S i.57. -- Cp. the similar names of yakkhinīs.
  5. They stand in a close relationship to and under the authority of Vessavaṇa (Kuvera), one of the 4 lokapālas. They are often the direct servants (messengers) of Yama himself, the Lord of the Underworld (and the Peta -- realm especially). Cp. D ii.257; iii.194 sq.; J iv.492 (yakkhinī fetches water for Vessavaṇa); vi.255 sq. (Puṇṇaka, the nephew of V.); VvA 341 (Serīsaka, his messenger). In relation to Yama: dve yakkhā Yamassa dūtā Vv 522; cp. Np. Yamamolī DhA iv.208. -- In harmony with tradition they share the rôle of their master Kuvera as lord of riches (cp. Pv ii.922) and are the keepers (and liberal spenders) of underground riches, hidden treasures etc., with which they delight men: see e. g. the frame story to Pvii.11 (PvA 145), and to iv.12 (PvA 274). They enjoy every kind of splendour & enjoyment, hence their attribute kāma -- kāmin Pv i.33. Hence they possess supernatural powers, can transfer themselves to any place with their palaces and work miracles; a frequent attribute of theirs is mah' iddhika (Pv ii.910; J vi.118). Their appearance is splendid, as a result of former merit: cp. Pv i.2; i.9; ii.11; iv.317. At the same time they are possessed of odd qualities (as result of former demerit); they are shy, and afraid of palmyra leaf & iron: J iv.492; their eyes are red & do not wink: J v. 34; vi.336, 337. -- Their abode is their self -- created palace (Vimāna), which is anywhere in the air, or in trees etc. (see under vimāna). Sometimes we find a communion of yakkhas grouped in a town, e. g. Āḷakamandā D ii.147; Sirīsa -- vatthu (in Ceylon) Mhvs 7, 32.
  6. Their essential human character is evident also from their attitude towards the "Dhamma." In this respect many of them are "fallen angels" and take up the word of the Buddha, thus being converted and able to rise to a higher sphere of existence in saŋsāra. Cp. D iii.194, 195; J ii.17; VvA 333; Pv ii.810 (where "yakkha" is expld by Dhpāla as "pet -- attabhāvato cuto (so read for mato!) yakkho ataŋ jāto dev -- attabhāvaŋ patto" PvA 110); SnA 301 (both Sūciloma & Khara converted). -- See in general also the foll. passages: Sn 153, 179, 273, 449; S i.206 -- 15; A i.160; Vism 366 (in simile); Miln 23.
  7. Exceptionally the term "yakkha" is used as a philosophical term denoting the "individual soul" [cp. similar Vedic meaning "das lebendige Ding" (B.R.) at several AV. passages]; hence probably the old phrase: ettāvatā yakkhassa suddhi (purification of heart) Sn 478, quoted VvA 333 (ettāvat' aggaŋ no vadanti h' eke yakkhassa sudhiŋ idha paṇḍitāse). Sn 875 (cp. Nd1 282: yakkha=satta, nara, puggala, manussa).
   -- ânubhāva the potency of a yakkha J i.240. -- āviṭṭha possessed by a y. J vi.586. -- iddhi (yakkh˚) magic power of a y. PvA 117, 241. -- gaṇathe multitude of ys. J vi.287. -- gaha=following DhA iii.362. -- gāha "yakkha -- grip," being seized by a y. S i.208; PvA 144. -- ṭṭhāna the dwelling -- place of a y. -- dāsī "a female temple slave," or perhaps "possessed by a demon" (?) J vi.501 (v. l. BB devatā -- paviṭṭhā cp. p. 586: yakkh'āviṭṭhā.) -- nagara city of ys. J ii.127 (=Sirīsavatthu); cp. pisāca -- nagara. -- pura id. Mhvs 7.32. -- bhavana the realm or abode of the y. Nd1 448. -- bhūta a yakkha -- being, a ghost Pv iii.52 (=pisāca -- bhūta vā yakkha -- bh. vā PvA 198); iv.135. -- mahiddhi=˚iddhi; Pv iv.154. -- yoni the y. -- world, realm of the y. SnA 301. -- samāgama meeting of the y. PvA 55 (where also devaputtā join). -- sūkara a y. in the form of a pig VbhA 494. -- senā army of ys. D iii.194; SnA 209. -- senāpati chief -- commander of the yakkha -- army J iv.478; SnA 197.
Yakkhatta
Yakkhatta (nt.) [fr. yakkha] condition of a higher demon or yakkha D ii.57; A ii.39; PvA 117.


Yakkhinī (f.) [fr. yakkha, perhaps corresponding directly to Vedic yakṣiṇī, f. of yakṣin; adj. persecuting, taking vengeance, appld to Varuṇa at RV.vii.884] a female yakkha, a vampire. Their character is usually fierce & full of spite & vengeance, addicted to man -- & beast-murder (cp. yakkha 2). They are very much like Petīs in habits. With their names cp. those of the yakkhas, as enumd under yakkha 4. -- Vin iii.37; iv.20 (where sexual intercourse with y. is forbidden to the bhikkhus); S i.209 (Piyankara -- mātā); J i.240 (as a goat), 395 sq.; ii.127; iii.511; v.21 (eating a baby), 209 (eaten by a y.); vi.336 (desirous of eating a child); Vism 121 (singing), 382 (four: Piyankara -- mātā, Uttaramātā, Phussa -- mittā, Dhammaguttā), 665 (in simile); Mhvs 7, 11 (Kuvaṇṇā, i. e. bad -- coloured); 10, 53 (Cetiyā); 12, 21 (Hāritā "Charming" or fr. harita "green" (?)); DhA i.47; ii.35, 36 (a y. in the form of a cow, eating 4 people in successive births). Note. A by -- form of yakkhinī is yakkhī.
   -- bhāva the state of being a yakkhinī J i.240; ii.128 (yakkhini˚).


Yakkhī (f.) [direct formation fr. yakkha, like petī fr. peta; form older than yakkhinī (?)]=yakkhinī S i.11; Vin iii.121; iv.20; J iv.492; Mhvs 7, 26.

Atiyakkha (ati + yakkha] a sorcerer, wizard, fortuneteller J vi.502 (C.: bhūtavijjā ikkhaṇīka).



Rukkha [Vedic vṛkṣa. See Geiger, P.Gr. § 13, with note. Pischel, Prk. Gr. § 320 puts rukkha to Sk. rukṣa (shining which as Pischel, following Roth. says has also the meaning "tree" in Ṛgveda). The Prk. form is rukkha. Cp. Wackernagel, Altind. Gr. 1, § 184 b. We find a byform rakkha at J iii.144. Cp. Brethren, pp. 185, 416, where the Bn MS. has rukkha kathā the meaning being rakkha˚] a tree...-- devatā a tree spirit, dryad, a yakkha inhabiting a tree (rukkhe adhivatthā d. Vin iv.34; J ii.385; kakudhe adhivatthā d. Vin i.28) J i.168, 322; ii.405, 438 sq. (eraṇḍa˚), 445; iii.23; iv.308 (vanajeṭṭhaka -- rukkhe nibbatta -- devatā); DhA ii.16; PvA 5 (in a Nigrodha tree), 43 (in the Vindhya forest). <-> They live in a Nigrodha tree at the entrance of the village (J i.169), where they receive offerings at the foot of the tree (cp. iv.474), and occasionally one threatens them with discontinuance of the offerings if they do not fulfil one's request. The trees are their vimānas (J i.328, 442; iv.154), occasionally they live in hollow trees (J i.405; iii.343) or in tree tops (J i.423). They have to rely on the food given to them (ibid.); for which they help the people (J iii.24; v.511). They assume various forms when they appear to the people (J i.423;ii.357, 439; iii.23); they also have children (Vin iv.34; J i.442). 


Maru1 [cp. Epic Sk. maru] a region destitute of water, a desert. Always combd with ˚kantāra: Nd1 155 (as Name); J i.107; VbhA 6; VvA 332; PvA 99, 112.




Maru2 [Vedic marut, always in pl. marutaḥ, the gods of the thunder -- storm] 1. pl. marū the genii, spirits of the air Sn 681, 688; Miln 278 (nāga --yakkha -- nara -- marū; perhaps in meaning 2); Mhvs 5, 27. -- 2. gods in general (˚ -- ) Mhvs 15, 211 (˚gaṇā hosts of gods); 18, 68 (˚narā gods and men). -- Cp. māruta & māluta.

Bhūta [pp. of bhavati, Vedic etc. bhūta] grown, become; born, produced; nature as the result of becoming. <-> The (exegetical) definition by Bdhgh of the word bhūta is interesting. He (at MA i.31) distinguishes the foll. 7 meanings of the term: (1) animate Nature as principle, or the vital aggregates (the 5 Khandhas), with ref. M i.260; (2) ghosts (amanussā) Sn 222; (3) inanimate Nature as principle, or the Elements (the 4 dhātus) Siii.101 (mahābhūtā); (4) all that exists, physical existence in general (vijjamānaŋ) Vin iv.25 (bhūtaŋ); (5) what we should call a simple predicativeuse, is exemplified by a typical dogmatic example, viz. "kālaghaso bhūto," where bhūta is given as meaning khīṇāsava (Arahant) J ii.260; (6) all beings or specified existence, animal kingdom (sattā) D ii.157; (7) the vegetable kingdom, plants, vegetation (rukkh'ādayo) Vin iv.34 (as bhūta -- gāma). -- Meanings: 1. bhūtā & bhūtāni (pl.) beings, living beings, animate Nature Sn 35 (expld at Nd2 479 as 2 kinds, viz. tasā & thāvarā, movable & immovable; S. ii.47 (K.S. ii.36) mind and body as come -- to -- be; Dh 131 (bhūtāni), 405; M i.2 sq. (paṭhavī, āpo etc., bhūtā, devā, Pajāpatī etc.), 4; MA i.32. The pl. nt. bhūtāni is used as pl. to meaning 2; viz. inanimate Nature, elements, usually enumd under term mahā -- bhūtāni. -- 2. (nt.) nature, creation, world M i.2 (bhūte bhūtato sañjānāti recognises the beings from nature, i. e. from the fact of being nature); DhsA 312 (˚pasāda -- lakkhaṇa, see Expos. 409). See cpds. ˚gāma, ˚pubba (?). -- 3. (nt. adj.) that which is, i. e. natural, genuine, true; nt. truth; neg.abhūta falsehood, lie Sn 397; PvA 34. See cpds. ˚bhāva, ˚vacana, ˚vāda. -- 4. a supernatural being, ghost, demon, Yakkha; pl. bhūtā guardian genii (of a city) J iv.245.


Bhumma (adj. -- n.) [fr. bhūmi, Vedic bhūmya] 1. belonging to the earth, earthly, terrestrial; nt. soil, ground, floor Sn 222 (bhūtāni bhummāni earthly creatures,contrasted with creatures in the air, antalikkhe), 236 (id.); Sdhp 420 (sabba -- bhummā khattiyā). pl. bhummā the earthly ones, i. e. the gods inhabiting the earth, esp. tree gods (Yakkhas) Vv 842 (=bhumma -- deva VvA 334). -- nt. ground: Pv ii.102 (yāva bhummā down to the ground); v. l. BB bhūm(i). -- 2. the locative case KhA 106, 111, 224; SnA 140, 210, 321, 433; PvA 33... -- devatā=˚deva J iv.287 (=yakkha); KhA 120.


Puṇṇa [pp. of pṛ, Vedic pṛṇāti, Pass. pūryate, *pelē to fill; cp. Sk. prāṇa & pūrṇa=Av. pərəna; Lith. pílnas; Lat. plēnus; Goth fulls=E. full=Ger voll] full, seldom by itself (only passage so far pannarase puṇṇāya puṇṇamāya rattiyā D i.47=Sn p. 139). nor -- ˚ (only Sn 835 muttakarīsa˚), usually in cpds., and there mostly restricted to phrases relating to the full moon.

   -- ghaṭa a full pitcher (for feeding the bhikkhus, as offering on festive days, cp. J.P.T.S. 1884) DhA i.147; KhA 118 (v. l. suvaṇṇaghaṭa); DAi.140 (˚paṭimaṇḍita ghara)...-- bhadda worshipper of Puṇṇabhadda, perhaps a Yakkha(father of the Yakkha Harikesa) Nd1 92 (Vāsuvadeva, Baladeva, P. and Maṇibhadda, cp. p. 89); Miln 191 (pisācā maṇibhaddā p.).

Pisāca [cp. Sk. piśāca & Vedic piśāci; to same root as pisuna=Vedic piśuna, & Lat. piget, Ohg. fēhida enmity=Ags. faehp ("feud"), connected with root of Goth. fijan to hate; thus pisāca=fiend] 1. a demon, goblin, sprite D i.54 (T. pesācā, v. l. pisācā, expld at DA i.164 as "pisācā mahanta -- mahantā sattā ti vadati"), 93; S i.209; A iii.69; Ud 5; J i.235; iv.495 (yakkha p. peta); Miln 23; VvA 335; PvA 198; Sdhp 313. -- f. pisācī J v.442. -- 2. [like pisāca -- loha referring to the Paiśāca district, hailing from that tribe, cp. the term malla in same meaning and origin] a sort of acrobat, as pl. pisācā "tumblers" Miln 191.

   -- nagara town of goblins (cp. yakkha -- nagara) Vism 531. -- loha [connected with the tribe of the Paiśāca's: Mhbh vii.4819; cp. Paiśācī as one of the Prākrit dialects: Pischel, Prk. Gr. § 3] a kind of copper VbhA 63 (eight varieties).

Tattha [Sk. tatra adv. of place, cp. Goth. papro & also Sk. atra, yatra] A. 1. of place: (a) place where= there, in that place Sn 1071, 1085; Dh 58; Ji.278; Pv i.1015; often with eva: tatth' eva right there, on the (very same) spot S i.116; J ii.154; PvA 27. In this sense as introduction to a comment on a passage: in this, here, in this connection (see also tatra) Dhs 584; DhA i.21; PvA 7, etc. (b) direction: there, to this place J ii.159 (gantvā);vi.368; PvA 16 (tatthagamanasīla able to go here & there, i. e. wherever you like, of a Yakkha).


Kantāriya (adj.) [from kantāra] (one) living in or belonging to the desert, the guardian of a wilderness, applied to a Yakkha Vv 8421 (=VvA. 341).


Khara1 [cp. Sk. khara] 1. (adj.) rough, hard, sharp; painful D ii.127 (ābādha); J iii.26 (vedanā) Miln 26 (+sakkhara-- kaṭhala-- vālikā), PvA 152 (loma, shaggy hair; cp. Np. Khara-- loma-- yakkha Vism 208). -- ˚ka= khara rough, stony PvA 265 (=thaṇḍila). 


Asura [Vedic asura in more comprehensive meaning; con- nected with Av. ahurō Lord, ahurō mazdā˚; perhaps to Av. anhuš & Lat. erus master] a fallen angel, a Titan; pl. asurā the Titans, a class of mythological beings. Dhpāla at PvA 272 & the C. on J v.186 define them as kāḷakañjaka -- bhedā asurā. The are classed with other similar inferior deities, e. g. with garuḷā, nāgā, yakkhā at Miln 117; with supaṇṇā, gandhabbā, yakkhā at DA i.51. <-> The fight between Gods & Titans is also reflected in the oldest books of the Pāli Canon and occurs in identical description at the foll. passages under the title of devâsura -- sangāma: D ii.285; S i.222 (cp. 216 sq.), iv.201 sq., v.447; M i.253; A iv.432. -- Rebirth as an Asura is considered as one of the four unhappy rebirths or evil fates after death (apāyā; viz. niraya, tiracchāna -- yoni, petā or pettivisaya, asurā), e. g. at It 93; J v.186; Pv iv.111, see also apāya. -- Other passages in general: S i.216 sq. (fight of Devas & Asuras); iv.203; A ii.91; iv.198 sq., 206; Sn 681; Nd1 89, 92, 448; DhA i.264 (˚kaññā); Sdhp 366, 436.

   -- inda Chief or king of the Titans. Several Asuras are accredited with the rôle of leaders, most commonly Vepacitti (S i.222; iv.201 sq.) and Rāhu (A ii.17, 53; iii.243). Besides these we find Pahārāda (gloss Mahābhadda) at A iv.197. -- kāya the body or assembly of the asuras A i.143; Jv.186; ThA 285. -- parivāra a retinue of Asuras A ii.91. -- rakkhasā Asuras and Rakkhasas (Rakṣasas) Sn 310 (defined by Bdhgh at SnA 323 as pabbata -- pāda -- nivāsino dānava -- yakkha -- saññitā).

शङ्कुः [शङ्क्-उण् Uṇ.1.36] 1 A dart, spear, spike, javelin, dagger; oft. at the end of comp; शोकशङ्कुः 'the dart of grief', i. e. sharp or poignant grief; तथैव तीव्रो हृदि शोकशङ्कुर्मर्माणि कृन्तन्नपि किं न सोढः U.3.35; R.8.93; Ki.16.15. -2 A stake, pillar, post, pale; महासुहयः सैन्धवः पड्वीशशङ्कून् संवृहेत् Bri. Up.6.1.13; निखात शङ्कुसंबद्धसैन्धवश्रेणिसंयुतम् Siva B.2. 53. -3 A nail, pin, peg; बभूवु सप्त दुर्धर्षाः खादिरैः शङ्कुभि- श्चिताः Mb.3.284.3; अयःशङ्कुचितां रक्षः शतघ्नीमथ शत्रवे (अक्षिपत्) R.12.95. -4 The sharp head or point of an arrow, barb; Dk.1.1. -5 The trunk (of a lopped tree), stump, pollard. -6 The pin of a dial. -7 A measure of twelve fingers. -8 A measuring-rod.  śaṅkulāशङ्कुला [शङ्क्-उलच् Uṇ.1.93] 1 A kind of knife or lancet. -2 A pair of scissors. -Comp. -खण्डः a piece cut off with a pair of scissors.(Samskritam. Apte)

See: http://bharatkalyan97.blogspot.in/2015/06/an-object-lesson-for-art-historians.html

S. Kalyanaraman
Sarasvati Research Center
July 3, 2015

Maran telephone exchange loot: 764, Not 323 high speed lines -- S. Gurumurthy. NaMo, restitute kaalaadhan. The nation trusts you.

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With 764, Not 323 High Speed Lines, the Maran Loot is Huge, Stupid. And More

Published: 03rd July 2015 06:28 AM
Last Updated: 03rd July 2015 09:57 AM
It is now more than 10 years since the installation of the fraudulent telephone exchange by the Marans — former Union Telecom Minister Dayanidhi Maran and Sun Network owner Kalanithi Maran — at the cost of BSNL took place. And four years since it was exposed by this paper.
The New Indian Express’s exposes in 2011 on illegal telephone exchange smuggled away from BSNL by the Marans and installed in their posh Boat Club residence in Chennai had been wrong on two counts. One, the number of stealthy lines installed was not just 323 high speed telephone lines as originally reported then. The number of lines has now been found to be more than double — 764 high speed lines! Two, the period for which the lines were operated was reported as six months in the investigation in 2011. Now, it has been found that the illegal exchange operated for 36 months from July 2004 to June 2007. On both counts, the 2011 investigation, which was based on the facts in possession at that time, had understated the gravity of the fraud. The original investigation had actually under-reported the size of the fraud. Even its under-reported size was gigantic enough. Now it is more gigantic than was reported in 2011. 




Yet, someone in the system is attempting to minimise the fraud by planting news that the loss is just Rs 1.8 crore. The scaling down of the financial size of the fraud is based on Maran’s claim that the lines were used for “official purposes.” The lines were intentionally smuggled away from BSNL for use for commercial purposes by Sun TV, for which proof exists in the form of underground cable laid secretly to connect the 764 lines to Sun TV office from Maran’s home.
The loss, if it is calculated on commercial rate, is huge - hundreds of crores. If it were used for official purposes, where was the crime first? Maran would walk away free if it were used only for official purposes. Why create a telephone exchange of 764 high speed telephone lines in the official office name of the Chief General Manager (CGM) of Chennai Telephones in Maran’s house instead of at BSNL office, for official purposes? First, why a secret and off the record telephone system for official purposes? The truth is that Marans had smuggled away 764 lines fraudulently designating them as service lines for the official use of the CGM of BSNL, when the lines were installed at the personal home of Dayanidhi Maran at Boat Club area in Chennai. As service lines “intended for official use”, the cost of installing the 764 lines is Rs 1.8 crore. This is what has been planted as the loss caused by the fraud. Only fools can be persuaded to believe that the 764 lines were intended and used for “official purposes”. 
The truth is that Marans had smuggled away 764 lines fraudulently designating them as service lines for the official use of the CGM of BSNL, when the lines were installed at the personal home of Dayanidhi Maran at Boat Club area in Chennai. As service lines “intended for official use”, the cost of installing the 764 lines is Rs 1.8 crore. This is what has been planted as the loss caused by the fraud. Only fools can be persuaded to believe that the 764 lines were intended and used for “official purposes”. 
It is the fraudulent claim of Marans. There is clear physical proof that the 764 high speed lines were intended and used for commercial purposes. The physical proof of it exists in the form of underground cable specially laid from Maran’s Boat Club home to Raja Annamalaipuram junction, from where the general underground cables had connected the 764 lines to the Sun TV office on Anna Salai. Only fools can claim and only the stupid can accept that the 764 lines were installed for official use and so only the installation cost of Rs 1.8 crore is the loss. It is crime - conspiracy, cheating, fraud, bribery, and breach of trust to inflict losses of hundreds of crores on the public for Sun TV to benefit to that extent. Undeniably, the 764 high speed lines had been used only and fraudulently for commercial purposes. Otherwise where is the need for a criminal investigation?
If the BSNL had given the 764 high speed lines for commercial use by Sun TV, what would be the loss? The minimum annual rent payable by Sun TV for each high speed line is Rs 10 lakh. This allows for a maximum of free calls beyond which each call will be charged. The rent of Rs 10 lakh per line alone amounts to Rs 76.4 crore each year. For three years from July 2004 to June 2007, it would multiply to Rs 229.2 crore. On top of it is the user charges, which cannot be calculated because the 764 high speed lines were kept outside the telephone billing system. The fraud prevents the calculation of the user charge. Despite that, a calculation had been made that the use per month in one set of 30 lines was 45 units per month.
On this basis, the loss could be several hundreds of crores of rupees during the three-year period. Since it was a separate telephone exchange, the Marans could have provided free telephone service to as many persons as they wanted. They were in effect the service providers - unlicensed and illegal. The New Indian Express investigation has also found that most officials of Sun TV were connected to the smuggled and fraudulent free telephone system of Marans.
Also, these illegal and smuggled telephone lines are not just a legal fraud inflicting a huge loss on the exchequer. They also point to clear breach of national security. Even a single unmonitored telephone line is a matter for investigation for national security breach. What about 764 high speed telephone system - a completely unmonitored telephone exchange - smuggled away by fraud and installed in a private home in the name of an official to conceal its use?
And who was the CGM of Chennai Telephones then? One M P Velusamy, whose wife was the cousin of Subbulakshmi Jagadeesan, a former DMK minister, who was arrested under TADA for harbouring LTTE terrorists. Dayanidhi Maran overlooked the seniority of one official of BSNL and chose Velusamy as the CGM. Besides the financial fraud and security risk, the choice of Velusamy overlooking a senior as CGM and installing the fraudulent exchange to prevent monitoring seems mysterious. Does this not need investigation into whether there was use of the telephone system for any anti-national purposes? Coincidentally, it was during 2004 to 2007 the war against LTTE had reached a peak. Does the issue of 764 high speed telephone lines kept in the name of CGM Chennai Telephones who was related to a TADA detainee for harbouring LTTE terrorists and used by Sun TV, an LTTE-compassionate DMK mouthpiece, not need a security probe?
Also Read: SC Refuses to Hear Marans' Plea in Assets Case
http://www.newindianexpress.com/states/tamil_nadu/With-764-Not-323-High-Speed-Lines-the-Maran-Loot-is-Huge-Stupid.-And-More/2015/07/03/article2899104.ece

Maran questioned for 2nd day by CBI

July 02, 2015 14:24 IST
Former Telecom Minister Dayanidhi Maran was quizzed by CBI for second consecutive day in connection with the alleged use of over 770 high capacity Bharat Sanchar Nigam Limited data lines at his three residences in Chennai and Delhi.
Central Bureau of Investigation Special Task Force officials, who had questioned Maran for nearly seven hours at the agency headquarters on Wednesday, began his examination again on Thursday on the leasing of telephone lines, which has been termed by Home Ministry as threat to national security.
Maran had already been questioned in connection with the case in January and October 2014, while his brother Kalanithi was examined once in September last year.
It is alleged that a loss of over Rs 1.8 crore (Rs 18 million) was caused to the exchequer by use of such large number of high capacity ISDN lines at Maran's Boat House Road residence in Chennai.
The residence was allegedly turned into a ‘virtual telephone exchange’ to facilitate speedy transmission of programmes by Sun TV owned by Maran's brother Kalanithi.
The questioning comes on a day when reports suggest that Information and Broadcasting Minister Arun Jaitley may take up the case of Sun TV with Prime Minister Narendra Modi after the Union Home Ministry rejected a proposal for granting security clearance to the television network.
Sun TV had approached the Home Ministry for security clearance and its case was supported by Information and Broadcasting Ministry.
However, the Home Ministry declined to give clearance, saying the owners of the TV network were facing cases for various offences including money laundering.

http://www.rediff.com/business/report/maran-questioned-for-2nd-day-by-cbi/20150702.htm?sc_cid=twshare

Paul Gauguin's painting, cost $300m. See it for free: Nafea Ipoipo faa (When will you marry)

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Saturday , July 4 , 2015 | 

Standalone

French post-Impressionist Paul Gauguin’s Nafea Ipoipo faa (When Will You Marry), said to be the most expensive painting ever sold, went on display at Madrid’s Reina Sofia Museum on Friday. A Qatari buyer had reportedly paid $300 million earlier this year for the oil painting. On loan, the painting will be on display in Madrid until mid-September. (AFP picture)

Proving the validity of deciherment of Indus Script Corpora as metalwork catalogues: Rosetta stones of Begram, Sanchi, Bharhut

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Mirror: http://tinyurl.com/nzarp5l

A Rosetta Stone helped validate the decipherment of Egyptian hieroglyphs because the inscriptions on the Stone contained multilingual texts containing the same message. So far, Indus Script Corpora has NOT produced any Rosetta Stone type of evidence. Hence, any claim of decipherment of Indus Script is contested in academia. Rightly so.

Many 'Rosetta Stones' removed in time from the days of Indus Script inscriptions (which started from ca. 3500 BCE) have been found in Sanchi and Bharhut engravings (which are dated to from ca. 3rd cent. BCE). 

This note discusses these Indus Script Rosetta Stone evidences discovered in Begram, Sanchi and Bharhut -- to validate the decipherment of Indus Script.

Artifact finds of Sanchi and Bharhut demonstrate the use of Brahmi and Kharosthi syllabic writing which demonstrate that the language of the artists and artisans was Prakritam. Use of Brahmi and Kharosthi writing is also evidenced on a punchmarked coin of Taxila (Fig. 10.13.14) with inscriptions: obv. negama (Brahmi) and rev. kojaka (Kharosthi).

"In the northwest Kharosthi continued to flourish and most of the known inscriptions in that are were written in this script between c. BCE 200 and CE 200. Kharosthi gained wide currency for coin inscriptions in the same reion. That its use spread at an early date into the Ganges valley can be inferred from the fact that at Bharhut the masons used Kharosthi letters for their masonry marks. Recently a number of Kharosthi inscriptions have been discovered on potsherds from sites in Bengal. Coinage. Around the opening of the second century BCE the establishment of an Indo-Greek kingdom in Gandhara introduced into the northwest a major new currency system, with a predominantly silver and bronze coinage. At an early stage the Greeks employed bilingual inscriptions in Greek and in Prakrit in Brahmi or Kharosthi script, and their coins provided a model which later rulers in the region were to initiate. The Greeks were followed into India by a series of foreign groups, first the Sakas and later the Kusanas who were among those to emulate the Greek patterns of coin...On the coins of Kaniska and his successors in the second century CE a wide variety of deities was depicted, including, beside the mainly Iranian pantheon, the Buddha and Siva, as well as Greek and Egyptian deities."(Allchin, FR & George Erdosy, 1995, The archaeology of early historic South Asia: the emergence of cities and states, Cambridge University Press, p.311).

After Fig. 10.12. Allchin & Erdosy, 1995. Coinage ascribable to the pre-Mauryan period (c. BCE 4th century). Northwest regions: 1. silver bar coin (double standard); 2. silver round coin (half standard); 3. silver square coin. Ganges valley (Kasi); 4. cup-shaped silver punchmarked coin; 5. silver punchmarked coin.

After Fig. 10.13. ibid. Coinage ascribable to the Mauryan and immediately post-Mauryan period. 6,7,8 silver punchmarked coins, national series; 9,10,11 coper cast coins; 12,13,15,16 die-struck copper coins; 14. inscribed copper coin, Taxila; obv. negama (Brahmi script), rev. kojaka (Kharosthi script). "We believe it is reasonable to conclude that during the Mauryan period silver punchmarked coins of the national series were very widely distributed in South Asia, and were accompanied by coins of the cast copper varieties."(Allchin, FR & George Erdosy, 1995, The archaeology of early historic South Asia: the emergence of cities and states, Cambridge University Press, p.221).

It is known that sculptors of Sanchi and Bharhut artifacts were in the tradition of ivory carvers of Begram.

The hieroglyphs -- for example, elephant, tiger, mountain-range, tree, fire-altar, sun's rays, svastika -- deployed on the coins of Mauryan period are comparable to the hieroglyphs on Indus Script Corpora. The later-day inventors of Kharosthi and Brahmi scripts are likely to have been adept at Indus Script hieroglyph writing (mlecchita vikalpa, i.e. Meluhha cipher).

arka 'sun' rebus: arka, eraka 'gold, copper moltencast'
kanda 'fire-altar'
kuTi 'tree' rebus: kuThi 'smelter'
Ku. ḍã̄gḍã̄k ʻ stony land ʼ; B. ḍāṅ ʻ heap ʼ, ḍāṅgā ʻ hill, dry upland ʼ; H. ḍã̄g f. ʻ mountain -- ridge ʼ; M. ḍã̄g m.n., ḍã̄gaṇ°gāṇḍãgāṇ n. ʻ hill -- tract ʼ. -- Ext. -- r -- : N. ḍaṅgur ʻ heap ʼ.
M. ḍũg m. ʻ hill, pile ʼ, °gā m. ʻ eminence ʼ, °gī f. ʻ heap ʼ. -- Ext. -- r -- : Pk. ḍuṁgara -- m. ʻ mountain ʼ; Ku. ḍũgarḍũgrī; N. ḍuṅgar ʻ heap ʼ; Or. ḍuṅguri ʻ hillock ʼ, H. ḍū̃gar m., G. ḍũgar m., ḍũgrī f. S. ḍ̠ū̃garu m. ʻ hill ʼ, H. M. ḍõgar m.(CDIAL 5523) rebus: N. ḍāṅro ʻ term of contempt for a blacksmith ʼ; Or. dhāṅgaṛ ʻ young servant, herdsman, name of a Santal tribe ʼ,H.dhaṅgar m. ʻ herdsman ʼ, dhã̄gaṛ°ar m. ʻ a non-- Aryan tribe in the Vindhyas, digger of wells and tanks ʼ(CDIAL 5524) For rebus readings of elephant, tiger, see following paragraphs.
Hieroglyph: svastika: satthiya 'svastika' rebus: satthiya, jasta 'zinc'
Taxila coin
Semantics of negama (Brahmi) and kojaka (Kharosthi) on Taxila coin which meant 'merchant caravans' and 'treasurer' respectively as may be seen from the glosses of Indian sprachbund (both Indo-Aryan including Prakritam and Dravidian):

नि-° गम [p= 545,3] a caravan or company of merchants (ifc. f().R. Das3. ;a town , city , market-place A1past. Car. Lalit. m. insertion (esp. of the name of a deity into a liturgical formula) SrS.the वेद or the Vedic text Hariv. Pa1n2. Pur. &cany work auxiliary to and explanatory of the वेदMn. iv , 19 ( Kull. )doctrine , instruction in , art of (comp.Ba1lar.= परिशिष्ट Cat. (Monier-Williams)

nigamá m. ʻ marketplace ʼ Āpast. [√gam]Pa. nigama -- m. ʻ market town ʼ, Pk. ṇigama -- m.; OSi. niyama ʻ marketplace ʼ.(CDIAL 7158)*nigamagrāma ʻ market village ʼ. [nigamá -- , grāˊma -- ]Si. niyamgama ʻ large village ʼ.(CDIAL 7159) Go<tiniGam>(A)  {V} ``to ^start (doing something)''.(Munda etyma) It is possible that the gloss is linked to grAma'village'. grāˊma m. ʻ troop, village ʼ RV., °aka -- m. MBh.Pa. gāma -- , °aka -- m. ʻ village ʼ, Aś. gāma -- , KharI. grama, Dhp. gama, NiDoc. grame pl.; Pk. gāma -- m. ʻ collection, village ʼ; Gy. eur. gav m. ʻ village, town ʼ; Ash. glam ʻ village ʼ, Kt. gŕom, Pr. gəm, Dm. gram, Paš. dar. lām, kuṛ. lāma, chil. lōm, ar. dlōmlōm (not dialects in which it would collide with lām < kárman -- IIFL iii 3, 109), Niṅg. Shum. lām, Woṭ. gām m., Gaw. lām, Kal. grom, Kho. gram (in cmpds. and place names), Bshk. lām, Tor. gām, Mai. gã̄, Gau. gaõ, Sv. grām, Phal. grōm, Sh. girōm ʻ cowpen ʼ (earlier → Bur. gir*lm ʻ clan, village ʼ Morgenstierne in Lorimer BurLg I, xxii), dr. gām ʻ village ʼ, gur. gāõ (← Ind. ~ kui < kuṭī -- ); K. gām m. ʻ village ʼ, S. gã̄u m., L. girã̄ m., P. grã̄girã̄°rāũ m., WPah. bhad. ḍḷã̄, bhiḍ. bhal. ḍḷaũ n., paṅ. cam. grã̄; cur. girã̄ ʻ field ʼ; rudh. gye ʻ village ʼ, khaś. grão, Ku. gaũ, gng. gɔ̃, N. A. gāũ, B. Or. gã̄, Bi. gã̄w, Mth. gã̄ogām, Bhoj. Aw. lakh. H. gã̄u m., Marw. gã̄v, G. gām n., M. gã̄vgāv m.n., Ko. gã̄vu m., Si. gama; -- ext. -- ṭa -- : Sk. grāmaṭikā -- f. ʻ wretched village ʼ, Pk. gāmaḍa -- m., G. gāmṛũ n. ʻ small village ʼ.grāmín -- ; *agrāmin -- , agrāmya -- , *nirgrāmika -- , saṁgrāmá -- ; grāmakūṭa -- , grāmaṇīˊ -- , *grāmadāra -- , *grāmadhāna -- , grāmavāsin -- , grāmastha -- , grāmāntá -- , *grāmārdha -- ; *gōgrāma -- , *nigamagrāma -- , *paragrāma -- , *pāṇḍavagrāma -- , *pālagrāma -- , mātr̥grāma -- .Addenda: grāˊma -- : WPah.kṭg. (kc.) graũ m. (obl. kṭg. graũ, kc. grama) ʻ village ʼ.(CDIAL 4368)

कोशक [p= 314,2] n. case , receptacle of (in comp.Ma1rkP. xi , 5.f. a drinking-vessel L. (Monier-Williams) Kol. (SR.) kojā cup. Go. (ASu.) khōjā bowl. (Kamaleswaran.) (DEDR 2191) Go. kōsur (Mu.) a government servant or paik, (Elwin) outsiders and strangers, a paik; (Ph.) kosur, (W.) koshur Hindu man; (Ph.) kostār, (W.) koshtār Hindu woman; (Ph. W.) kosh the Hindi language (Voc. 991). Konḍa (BB) kōslaen (pl. kōska) a peon. Pe. kōsku (pl.) peons. Kuwi (S.) koheesi constable, (pl. kōska police); (Ṭ.) kōh'i (pl. kōska) peon; kōhu haḍa the Oriya language.(DEDR 2192). <kokoJa>  
{NK} ``^members of one's immediate ^family''.  @2202.  #16121.suffix of adverbs'.(Munda etyma)

kōśāgāra n. ʻ treasure chamber ʼ MBh. [kṓśa -- , agāra -- ]L. kohārā m. ʻ cash box, box for blacksmith's odds and ends ʼ, mult. khũhārā m.(CDIAL 3542).Kosa1 (m. nt.) [cp. Sk. kośa and koṣa, cavity, box vessel, cp. Goth. hūs, E. house; related also kukṣi=P. kucchi] any cavity or enclosure containing anything, viz. 1. a store -- room or storehouse, treasury or granary A iv.95 (rāja˚); Sn 525; J iv.409 (=wealth, stores); J vi.81 (aḍḍhakosa only half a house) in cpd. -- ˚ koṭṭhāgāra, expld at DA i.295 as koso vuccati bhaṇḍāgāraŋ. Four kinds are mentioned: hatthī˚, assā˚, rathā˚, raṭṭhaŋ˚. <->- koṭṭhāgāra "treasury and granary" usually in phrase paripuṇṇa -- k -- k (adj.) "with stores of treasures and other wealth" Vin i.342; D i.134; S i.89; Miln 2; & passim. (Pali) Kosaka [fr. kosa] 1. a sheath for a needle J iii.282; - 2. a bowl, container, or vessel for food J i.349 (v. l. kesaka); M ii.6, 7,(Pali)

Begram ivory prototype and Bharhut torana

Women standing under a Toraṇa. Begram Ivory Plaque which is a prototype for Bharhut-Sanchi Stupa Toraṇa
Bharhut Torana

See: http://bharatkalyan97.blogspot.in/2015/06/bharhut-stupa-torana-architectural.html

It is suggested that the engravers of Begram, Sanchi and Bharhut who wrote in Brahmi and Kharosthi syllabic scripts followed the tradition of hieroglyphmultiplextext of Indus Script on pictorial motifs of ivory or stone sculptural artifacts. In this perspective, Begram, Sanchi, Bharhut artifacts constitute Rosetta stones to validate decipherment of Indus Script Corpora -- which are metalwork catalogues with inscriptions in Prakritam -- the same language used by scribes of Begram, Sanchi and Bharhut.

The language Prakritam unites the Rosetta Stones of Begram, Sanchi and Bharhut with the Indus Scipt Corpora and overcomes the problem time-gap of about 1000 years-- between ca. 3500 BCE - 1500 BCE (the dates of Sarasvati-Sindhu or Indus Valley Civilization) and 3rd cent. BCE.

Continuing Art traditions of Indus Script Corpora in Begram, Sanchi, Bharhut

Unique art forms unite the artifacts with hieroglyphs of Indus Script Corpora, Begram ivories and Sanchi/Bharhut stone sculptural friezes.

One characteristic style which singles out Indus writing system is the deployment of hieroglyphmultiplextext, creating for example, composite animals with many body parts from different animals. This characteristic style continues into the historical periods. As mlecchita vikalpa (cipher writing in Meluhha or Prakritam), all artifacts with unique hieroglyphmultiplexes can be explained as plain texts related to metalwork which was a principal life-activity of the artisans of both Bronze and Iron Ages in the civilization area of Indian sprachbund (laguage speech union).

Detail of three winged tigers and a pair of horned, winged tigers with riders on Sanchi Stupa as centre-piece on the top architrave and on left and right pillars

Horns as hieroglyph: The 'horns' are 'stalks', hieroglyphs: कारंडा [ kāraṇḍā ]करंडा [ karaṇḍā ]  m A chump or block. the stock or fixed portion of the staff of the large leaf-covered summerhead or umbrella. A clump, chump, or block of wood. करांडा [ karāṇḍā ] m C A cylindrical piece as sawn or chopped off the trunk or a bough of a tree; a clump, chump, or block. करोळा [ karōḷā ] m The half-burnt grass of a Potter's kiln: also a single stalk of it. Kalanda [cp. Sk. karaṇḍa piece of wood?] heap, stack (like a heap of wood? cp. kalingara) Miln 292 (sīsa˚) (Pali) करण्ड [L=44277] n. a piece of wood , block Bhpr.

Rebus: fire-god: @B27990.  #16671. Remo <karandi>E155  {N} ``^fire-^god''.(Munda)

Allograph: करडी [ karaḍī ] f (See करडई) Safflower: also its seed.

Rebus: karaḍa ‘hard alloy’ (Marathi) See: http://tinyurl.com/qcjhwl2

Hieroglyphs: 
kola, kōlu ‘jackal, tiger (Konkani.Telugu) rebus: kola_ burning charcoal (Lahnda.Punjabi.);kol, kolla a furnace (Tamil); kolla a blacksmith (Malayalam); kol metal (Tamil); kol 'working in iron'; kolhe 'smelter' (Santali); kolimi 'smithy-forge'(Telugu) kole.l 'smithy, temple'(Kota)

dula 'pair' rebus: dul 'cast metal'

eraka 'wing' Rebus: eraka 'copper'.

Artistic style: Joined animal Hieroglyph: sangaḍi = joined animals (Marathi)
Rebus: saMghAta 'caravan'

Hieroglyphs of riders: With  karaṇḍā 'stalks' as koD 'horns' and artisans (carrying goads or weapons or काण्डी kANDI 'little stalk or stem') hieroglyph components added:  karaḍā eraka kol saMghAta 'hard alloy moltencast copper working in iron caravan' PLUS kuThAru 'armourer', or kamar 'artisan' PLUS koD 'workshop'. [In Udipi and coastal Dakshina Kannada districts of Karnataka, there is a practice of ‘Pili Kola’ worshiping Tiger. The festival is conducted once in every two years in Muggerkala Temple in Kaup.  http://www.bellevision.com/belle/index.php?action=topnews&type=3842
http://www.mangalorean.com/specials/specialnews.php?newsid=481755&newstype=local] Rebus: खांड (p. 202) [ khāṇḍa as in lokhaṇḍa  'metal tools, pots and pans, metalware' (Marathi). Thus the two riders of the hieroglyph-multiplex of stalk-as-horn PLUS winged tigers can be read as: armourers working in a smithy-forge, kolimi and with hard alloy, karaDa; moltencast metal, eraka. The riders seem to be arrying: कुठार (p. 167) [ kuṭhāra ] m S An ax or a hatchet. Hence, they are kuThAru 'armourers'.

The entire hieroglyphmultiplextext is read rebus in Meluhha: 
dul eraka karaḍa  kol lokhaṇḍa kuThAru saMghAta 'moltencast metal, alloy, iron worker, metalware, armourer caravan'. 

The stalks ligatured as horns are hieroglyphs which compare with Sit Shamshi bronze which displays three such stocks to signify metalwork and oblations to the Sun divinity:
kolmo 'three' rebus: kolimi 'smithy, forge'; kole.l 'smithy, temple'.


The prototype model for the joined tigers occurs on Indus Script Corpora deciphered as smithy workshop: kole.l cAl

m0295 Mohenjo-daro seal
   This is a good example of hypertext with two categories of hypertext components: 1. pictorial motif hieroglyphs; 2. text hieroglyphs called signs in Indus Script Concordances such as those of Parpola and Mahadevan.



cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Allograph: sal ‘splinter’
Pict-61: Composite motif of three tigers
 Text1386 Note how the hieroglyph components of the text are displayed in the space available on the seal after the pictorial motif hieroglyphs have been put together as part of the hypertext. The broken corner of the seal may have included other 'text hieroglyphs called signs'.

Hieroglyph of ‘looking back’ is read rebus as kamar 'artisan': క్రమ్మరు [krammaru] krammaru. [Tel.] v. n. To turn, return, go  back. మరలు.  క్రమ్మరించు or  క్రమ్మరుచు  krammarinsu. V. a. To turn, send back, recall. To revoke, annul, rescind.క్రమ్మరజేయు.  క్రమ్మర krammara. Adv. Again. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు. krəm backʼ(Kho.)(CDIAL 3145) Kho. Krəm ʻ back ʼ NTS ii 262 with (?) (CDIAL 3145)[Cf. Ir. *kamaka – or *kamraka -- ʻ back ʼ in Shgh. Čůmč ʻ back ʼ, Sar. Čomǰ EVSh 26] (CDIAL 2776) cf. Sang. kamak ʻ back ʼ, Shgh. Čomǰ (< *kamak G.M.) ʻ back of an animal ʼ, Yghn. Kama ʻ neck ʼ (CDIAL 14356). Kár, kãr  ‘neck’ (Kashmiri) Kal. Gřä ʻ neck ʼ; Kho. Goḷ ʻ front of neck, throat ʼ. Gala m. ʻ throat, neck ʼ MBh. (CDIAL 4070)  Rebus: karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)

kolmo 'three' Rebus: kolimi 'smithy, forge'

kola 'tiger' Rebus: kol 'working in iron'; kolle 'blacksmith'; kolimi 'smithy, forge'; kole.l 'smithy, temple'

me ‘body’ Rebus: me ‘iron’ (Mu.) Vikalpa: kāḍ  2 काड् a man's length, the stature of a man (as a measure of length); rebus: kāḍ  ‘stone’; Ga. (Oll.) kanḍ , (S.) kanḍu (pl. kanḍkil)  stone

kaṇḍ kanka ‘rim of jar’; Rebus: karṇaka ‘scribe’; kaṇḍ ‘furnace, fire-altar’. Thus the ligatured Glyph is decoded: kaṇḍkarṇaka ‘furnace scribe'
kole.l smithy, temple in Kota village (Ko.)

kōna corner (Nk.); tu. kōu angle, corner (Tu.); rebus: kõdā ‘to turn in a lathe’ (Bengali) Alternative reading; kanac 'corner' rebus: kancu 'bronze'

sal 'splinter' Rebus: sal 'workshop'

Thus, the message on the seal reads: me ‘iron’; kāḍ  ‘stone’;  karṇaka ‘furnace scribe'; kolimi 'smithy, forge' kole.l 'smithy, temple'; sal ‘workshop’ PLUS kõdā sal 'turner workshop' (Alternative: kancu sal 'bronze workshop')

The entire hypertexts of pictorial and text hieroglyph components can thus be read using rebus-metonymy-layered-meluhha cipher as: 'iron stone furnace scribe smithy-forge, temple, turner or bronze workshop'.



cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Did the Bharhut architect who designed the Western Torana (Gateway) with hieroglyph multiplex of 3 tigers (winged) intend to send the message that the precincts are: Hieroglyph: cAli 'interlocking bodies' Rebus: sal 'workshop'?
 

Hieroglyph: kul 'tiger' (Santaliकोल्हें [ kōlhēṃ ] A jackal (Marathi) kol 'tiger, jackal' (Konkani.) kOlupuli 'tiger' (Telugu) కోలు [ kōlu ] kōlu. [Tel.] adj. Big, great, huge పెద్ద. కోలుపులి or కోల్పులి a royal tiger. Rebus: kolimi 'smithy, temple'; kol 'working in iron'. Thus kol(m) could have connoted a tiger. 

*ut-- śāla ʻ leaping up ʼ. (CDIAL 1846) śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex. Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xālxāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M. sāḷ f. ʻ workshop, school ʼ; Si. sal -- aha° ʻ hall, market -- hall ʼ.(CDIAL 12414) *kōlhuśālā ʻ pressing house for sugarcane or oilseeds ʼ. [*kōlhu -- , śāˊlā -- ] Bi. kolsār ʻ sugarcane mill and boiling house ʼ.(CDIAL 3538)  karmaśālā f. ʻ workshop ʼ MBh. [kárman -- 1, śāˊlā -- ]Pk. kammasālā -- f.; L. kamhāl f. ʻ hole in the ground for a weaver's feet ʼ; Si. kamhala ʻ workshop ʼ, kammala ʻ smithy ʼ.(CDIAL 2896) 2898 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. Md. kan̆buru ʻ blacksmith ʼ.(CDIAL 2898) *karmāraśālā ʻ smithy ʼ. [karmāˊra -- , śāˊlā -- ] Mth. kamarsārī; -- Bi. kamarsāyar?(CDIAL 2899)

I suggest that the three tigers with interlocked bodies DOES connote cāli 'interlocked bodies' Rebus-metonymy layered cipher yields the plain text message : kola 'tiger'> kolom 'three' PLUS cāli 'interlocked bodies' :kammasālā 'workshop' (Prakritam) < kol(m) PLUS śāˊlā, i.e. smithy workshop.


http://bharatkalyan97.blogspot.in/2015/07/nature-of-indus-writing-system-defined.html

Hieroglyphmultiplextext of stalks as horns is displayed on another frieze of Sanchi with an elephant ligatured to the body of a bull:



Hieroglyph multiplex: Sanchi stupa. railing. 2nd cent. BCE. Hieroglyphs are: elephant (face, trunk), bull (body), safflower, leafless stalks as horns

Hieroglyphs: 

With  karaṇḍā 'stalks' as koD 'horns' and artisans (carrying goads or weapons or काण्डी kANDI 'little stalk or stem') hieroglyph components added as signifiers on the frieze:

sangaḍi = joined animals (Marathi) [In this hieorglyphmultiplex, body of a bull is joined to the face and trun of an elephant]
Rebus: saMghAta 'caravan'

barad, barat, 'bull' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi) bharana id. (Bengali)
करडी [ karaḍī ] f (See करडई) Safflower Rebus: खरडा [ kharaḍā ] scribbling, engraving Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c. PLUS kolmo 'three' Rebus: kolimi 'smithy, forge'. 
kara ‘elephant’s trunk’ rebus: khar ‘blacksmith’ PLUS ibha 'elephant' Rebus: ibbo 'merchant' Pronounced together: (kar+ibbha) karb ‘iron’ (See: Tulu. ajirda karba very hard iron; karba iron.)
Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: khāṇḍā 'tools, pots and pans, metal-ware'. ayaskāṇḍa 'a quantity of iron, excellent iron'

Read together: karaḍā khāṇḍā bharat ibbo saMghAta kolimi Hard alloy, mixed alloy (copper+zinc+tin) smithy, forge metalsmith artisan-merchant-scribe OR metalcaster-engraver caravan (guild).

Sanchi examples of hieroglyhphmultiplextexts are a continuum of the Indus Script tradition. 

The artisans convey messages of metalwork on Indus Script Corpora as also on many sculptural friezes using such hieroglyphmultiplextexts. 

In addition to the thousands of examples on punch-marked and other metal coins of the historical periods and scruptural relief hieroglyphs, the hieroglyphmultiplextexts from the Indus Script Corpora tradition also get displayed on a pre-Mauryan ca. 6th cent. BCE Sohgaura copper plate. The koTThaka mentioned in the Brahmi inscription is also displayed as a hieroglyph on a hypertext, top line:

Sohgaura coper plate inscription. The Sohgaura copper plate refers to a pair of kos.t.ha_ga_ra (dva_ra kot.t.haka); the two storehouses described as tri-garbha (i.e. having three rooms)...
See: http://bharatkalyan97.blogspot.in/2012/07/sohgaura-copper-plate-inscription-as.html [kōṣṭhāgāra n. ʻ storeroom, store ʼ Mn. [kṓṣṭha -- 2, agāra -- ]Pa. koṭṭhāgāra -- n. ʻ storehouse, granary ʼ; Pk. koṭṭhāgāra -- , koṭṭhāra -- n. ʻ storehouse ʼ; K. kuṭhār m. ʻ wooden granary ʼ, WPah. bhal. kóṭhār m.; A. B. kuṭharī ʻ apartment ʼ, Or. koṭhari; Aw. lakh. koṭhārʻ zemindar's residence ʼ; H. kuṭhiyār ʻ granary ʼ; G. koṭhār m. ʻ granary, storehouse ʼ, koṭhāriyũ n. ʻ small do. ʼ; M. koṭhār n., koṭhārẽ n. ʻ large granary ʼ, -- °rī f. ʻ small one ʼ; Si. koṭāra ʻ granary, store ʼ.WPah.kṭg. kəṭhāˊr, kc. kuṭhār m. ʻ granary, storeroom ʼ, J. kuṭhārkṭhār m.; -- Md. kořāru ʻ storehouse ʼ ← Ind.(CDIAL 3550)]

A trilogy has demonstrated that the Indus Script Corpora constitute catalogus catalogorum of metalwork of the Bronze Age:

Author: S. Kalyanaraman
Publisher: Sarasvai Research Center, Herndon, VA, USA

  1. Indus Script Cipher -- Hieroglyhphs of Indian Linguistic Area(2010)
  2. Indus Script: Meluhha metalwork hieroglyphs (2014)
  3. Philosophy of Symbolic forms in Meluhha cipher (2014)

The sakkia who created the Begram ivories also created the Bharhut and Sanchi architectural marvels. They are from the lineage of scribes of Sarasvati-Sindhu civilization who wrote in mlecchita vikalpa (lit. meluhha cipher) documented on Indus Script Corpora.

Links:

http://tinyurl.com/omqwnx2

http://tinyurl.com/pkrnfqp

S. Kalyanaraman
Sarasvati Research Center
July 5, 2015



Mr Owaisi, please don’t hurt India’s Muslims -- MD Nalapat

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MADHAV NALAPAT
ROOTS OF POWER
M.D Nalapat is the Editorial Director of The Sunday Guardian. July 5, 2015
Mr Owaisi, please don’t hurt India’s Muslims
Segmenting policies based on faith is a throwback to a violent past.
Asaduddin Owaisi.
saduddin Owaisi runs his party, in effect, on a platform of betterment of the Sunni community, and has received substantial support on the basis of this claim, first in Hyderabad and recently in Maharashtra, in towns such as Aurangabad. But taking the first, have the lives of ordinary members of the faith actually improved as a consequence of Mr Owaisi and the MIM? How much of the improvement in educational and general living standards — if any — can the MIM claim credit for? The answer may be: very little. Those politicians in India, who appeal to religious sentiments to drive voters into a stockade, usually ignore factors such as health, education (especially for girls) and the vocational training needed to get a reasonably paying job. The core problems in India are non-sectional, and need an inclusive approach in policy to get solved. Seeking to segment policies on the basis of faith is a throwback to a past which saw millions of deaths and the break-up of India. Has the subcontinental Muslim community gained from Partition or lost? There are reports that M.A. Jinnah was willing to abandon his drive for a separate state if he were made Prime Minister of a united country. Because of the continuation of the colonial-era policy of keeping information about the past from citizens, we cannot be sure if this were true or not. However, the fact is incontestable that a united India would have witnessed more than one Prime Minister from the Muslim community, given their weightage within the general population. Tragically, leaders such as Jawaharlal Nehru turned their backs on individuals such as Khan Abdul Ghaffar Khan, who wanted a united, secular India, but was forced to witness the dodgy amalgamation of the North West Frontier Province into the separate state of Pakistan. The more the rulers of that country have adopted the MIM prescription of looking at the world in communal terms, the faster has been its descent into a failed state status, which indeed is the reason why many in the Kashmir valley, who favoured armed struggle, have now reconciled to the ballot box, that too within the Union of India.
Asaduddin Owaisi appears to believe, for example, that unless a woman wears a burkha, she is in some way deficient in following her faith. The reality is that the Word of God is clear on the need to constantly examine and innovate, and therefore to adjust to changes in circumstances rather than remain frozen in the patterns of the past. Full-length denims and a shirt-top may therefore be said to be as modest in this age as the burkha was several hundreds of years ago. The Muslim community in India has reason to be proud of the many from the faith who have emerged as stars in the constellation of Indian achievements. An obscure example is Nooraine Fazal, who set up a school in Bangalore which has today become a path-breaker in the creation within young minds (of every community) of the modern, moderate mindset needed not only to succeed in the world, but to change it for the better. Ms Fazal may not have ever worn a burkha in her life, but to call her less of a believer because of that would be to adopt an interpretation of a noble faith that is in contradiction to the compassionate, merciful and beneficent message conveyed in such eloquence by the Almighty.
What is the MIM chief's objection to the teaching of the English language, or science or social sciences or indeed mathematics, the field in which Arabs, for example, excelled in a past when there was less of dogma than is the case in the present? Whether it be a madrasa or a Veda pathsala, such subjects ought to be made mandatory, so that graduates from such schools will have the intellectual skills needed to compete with the rest of society, and the MIM ought to press for that rather than seek to exclude the teaching of such subjects, that too at the expense of the state rather than the institution.
India should avoid the trajectory of Pakistan, which in the 1980s made the exclusive learning by rote of religious texts the legal equivalent of formal education, thereby sanctioning the entry of hundreds of thousands of youths into positions for which they lacked the training. In the 21st century, no country ought to define itself as a religious state, especially one in which those practising a particular faith get defined in law and practice to be above the others. Increasingly, it is knowledge, and not physique, which defines success even in manufacturing processes, and for this, a climate of freedom is needed. Not only in Pakistan, but in India as well there is a long path to traverse before this country can be defined as truly free in a democratic sense. Given the colonial-era laws that successive governments have clung on to since 1947, it is frighteningly easy to send a citizen to prison for making remarks that would be commonplace in counties having genuinely democratic governance structures. For it to succeed and to spread, a Digital India needs a climate of freedom of expression and open enquiry, it needs transparency and the accountability this brings, not a colonial-era desire to hold on to information because of an innate contempt for those who are not officials (including of the "political" kind).
As for Mr Owaisi, he would better serve the objectives he professes were he to seek the spread of English, science, mathematics and social sciences into the curricula of every madrasa, rather than seek to block such essential components of school education from those belonging to a vibrant community that has done India proud.
http://www.sunday-guardian.com/analysis/mr-owaisi-please-dont-hurt-indias-muslims

‘Criminal defamation must be abolished’ -- Dr. Subramanian Swamy

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‘Criminal defamation must be abolished’
You can sue someone for defamation, but you cannot deprive someone of his liberty: Subramanian Swamy.
ABHIMANYU SINGH  New Delhi | 4th Jul 2015

Dr Subramanian Swamy is no stranger to controversy. Recently, the BJP leader challenged the validity of laws concerning defamation and hate speech in India. This was after Tamil Nadu Chief Minister J. Jayalalithaa filed several defamation cases against him and a non-bailable warrant was issued against him for an alleged hate speech regarding mosques. The NBW was stayed by the Supreme Court earlier this week. The Apex Court has also asked the Centre to respond to Swamy's plea regarding defamation laws. In an exhaustive interaction with The Sunday Guardian, Dr Swamy put forth his arguments supporting his contentions.
Q: With regard to laws concerning defamation, especially in the context of the cases the TN CM has filed against you, you have taken the plea that there are not enough safeguards pertaining to it.
A: No, I have used that as an example (to show) criminal defamation has no place in Indian law. It is a commitment also of the Indian government to abolish criminal defamation. Defamation can be sued for in terms of monetary (compensation). It will be a civil suit. I am not saying there is no such thing as defamation. You can sue someone for defamation, but you cannot deprive someone of his liberty. I use this to show the necessity was urgent because politicians who want to silence other politicians or the media are using the fear of arrest as a threat to chill the debate. In a democracy, healthy vigorous debate is essential. Of course, that right is subject to reasonable restrictions. The present law of defamation comes from the British period when they wanted to put people in jail for criticising anything British. What I am saying is that criminal defamation is unconstitutional; it imposes an unreasonable and disproportionate punishment. (Moreover) it is inconsistent with the international commitments of India under the International Covenant for Civil and Political Rights. We have to abide by those because we have ratified it. Furthermore, under the Directive Principles of the Constitution, we have to respect international law.
Q: Under Section 499 of the IPC, there exist several exceptions to the charge of defamation and you would agree that they are quite exhaustive.
A: There is a catch. In your defence in a criminal trial over defamation (charges), you can plead those exceptions to be acquitted. That means you will have to go through this. And it will depend on the magistrate, depends on the location...suppose I make a statement in Madras and I am sued in Assam, look at the amount of expenses I have to go through. These exceptions only apply during the trial. But the basic thing is, you should not be dragged to a criminal court. You offer me the lollypops (of safeguards), but I am at the discretion of the judge, and the trial, and my lawyers to be able to conduct the case and how fast will it be conducted. Lawyers have to be paid for every adjournment. Look at the harassment that takes place.
Q: Jayalalithaa had filed several defamation cases against you, including one concerning something you said related to the LTTE.
A: There are four or five cases. One is on fishing boats. Then there was an accusation against Shashikala. Third was that letting her govern was to give a garland of flowers to a monkey. Where is the defamation in all this? It is a well-known Tamil proverb. (About LTTE) I had said that she had allowed posters of Prabhakaran to be put up on his death anniversary. That shows that she has sympathy for the LTTE and Prabhakaran, who got Rajiv Gandhi killed and so many soldiers of our IPKF were shot, maimed and so on.
Q: Let us talk about the hate speech issue. You have challenged several sections. Some are about attempts to create enmity between religious groups by way of speaking. Others are concerned with damage to religious structures. If seen in an overall context, your detractors might allege that this is part of a larger game plan, since demolition of religious structures has happened earlier.
A: What did I say? I have never said demolish religious structures. They are demolishing them every day in Saudi Arabia. Mosques are prayer halls. And this is not what I am saying; this is not what Saudi Arabia is saying; this is a constitutional bench of the Supreme Court saying (Faruqui vs Union of India, 1994).
When it comes to these religious (and) social matters, there are three parts to a speech. Part one is a statement of my belief. Part two is my advocacy of the same. Part three is incitement. You can prosecute me for incitement. But you cannot prosecute me for telling my views based on facts. Pakistan, Qatar, Turkey, Saudi Arabia demolish mosques and build apartment buildings, roads. But temple I cannot shift: there is pran-pratishtha, there is agama-shashtra. They say once you do the pran-pratishtha puja, the Lord enters the murti and he becomes the owner of the thing. After that you cannot touch it, whether the temple is in use or disuse. And this is the judgement of the House of Lords when I got the Nataraja statue back as the Law Minister. The other side argued that the temple (it was taken from) was in disuse. I said a temple is always a temple and we won.
Q: But your detractors are liable to say that you are foisting an agenda.
A: I am hundred per cent foisting an agenda. You have been enslaved by the British. You were made stooges by Jawaharlal Nehru. Now I am trying to liberate you. Therefore, I am working according to an agenda.
Q: Some people suspect it is the agenda of the RSS.
A: So what? RSS is a friendly organisation for me and I totally associate myself with them. I am not a member but I support them.
Q: Your critics allege that there is an impression that had gained ground after you wrote an article in a newspaper where you said Muslims should proudly acknowledge their Hindu ancestry.
A: What's wrong in that? It is in their DNA.
Q: But some may not want to do that.
A: Why not? Is it a matter of shame?
Q: While you may have your reasons for your statements, there are other statements made recently, which are clearly provocative. If you take away the provision of hate speech completely, these sections will be emboldened.
A: All fundamental rights are subject to reasonable restrictions, not unreasonable restrictions. Section 153 A, 295 A, these are all unreasonable restrictions and they are being misused. What we cannot allow is for violence to take place following a speech. That will be incitement because it will lead to violence. And the violence should be manifest, and not because you thought it will lead to violence. It should happen immediately; it should be an imminent thing. If I make a statement, next day there should be a riot. You cannot say six months later there was a riot because of this statement. The imminence of violence is important in this.
http://www.sunday-guardian.com/news/criminal-defamation-must-be-abolished

Socio Economic and Caste Census 2011, path-breaking effort -- R Vaidyanathan

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Socio Economic and Caste Census 2011, path-breaking effort -- R Vaidyanathan

IIM Bangalore

The Socio Economic Caste Census-2011 (SECC-2011) which was released by Finance Minister Arun Jaitley on 3rd July 2015 is a path breaking effort undertaken by our agencies. Ministry of Rural Development started the Socio-Economic Caste census-2011 in June 2011 by a comprehensive door to door enumeration across the country.
It is a study of socio economic status of rural and urban households. It has 3 census components conducted under the overall coordination of Department of Rural Development in the central Government. Census in Rural areas conducted by Department of Rural Development. [DoRD].Urban areas under the jurisdiction of Ministry of Housing and Urban Poverty Alleviation [MoHUPA].Caste aspect is under Ministry of Home Affairs Registrar General of India and Census commissioner of India.
Sources of Household income - Numbers in 100K (lakhs)FarmingManual Casual LaborDomestic HelpRag pickingSelf EmployedBegging/ Alms/ CharityOthers30.1%14%51.2%
OccupationNumbers
Farming539
Manual Casual Labor916
Domestic Help45
Rag picking4
Self Employed29
Begging/ Alms/ Charity7
Others250
Even though the data is collected “respondents input” with the counter sign of enumerator. However the collected data meets the approval of Gram Sabha and Panchayats—which is an interesting aspect of the data base.

Key findings:

Total households in the country –both Rural and Urban is 24.39 Crore (243.9million) of which total rural households is 17.91 crore (179.1 million). Some of the salient aspects of this study, taken from the SECC site are listed below:

Automatic Exclusion criteria

Nearly 7 crore or 40% of the households (in Rural India) do have one of the 14 characteristics listed below and have been excluded from the study:
  1. Motorized 2/ 3/ 4 wheeler/fishing boat.
  2. Mechanized 3-4 wheeler agricultural equipment.
  3. Kisan credit card with credit limit of over Rs.50,000 (approx $800).
  4. Household member government employee.
  5. Households with non-agricultural enterprises registered with government.
  6. Any member of household earning more than Rs. 10,000 per month.
  7. Paying income tax.
  8. Paying professional tax.
  9. 3 or more rooms with Pucca walls and roof.
  10. owns a refrigerator.
  11. Owns landline phone.
  12. Owns more than 2.5 acres of irrigated land with 1 irrigation equipment.
  13. 5 acres or more of irrigated land for two or more crop season.
  14. Owning at least 7.5 acres of land or more with at least one irrigation equipment.
If the government decides to use these criteria for excluding from many social welfare schemes then it would have made a tectonic shift in the leaking “welfare state”, meaning several beneficiaries of the Reservation system in place in India would satisfy at least one or more of the above 14 characteristics.

Some highlights from the Rural side:

  1. SCs constitute 18.46 % of rural households and STs 10.97%.
  2. 3.85% are headed by women and 6% households have a disabled person
  3. Main source of Income for Rural households is Manual casual labour [ 51%] and cultivation [30%]
  4. In rural areas nearly 10% of the households can be classified as salaried households with Gov. salary constituting 5% of the households
  5. Interestingly 94% of rural households own a house [ Kuccha or Pucca etc]
Note: Kuccha and Pucca houses are differentiated by the use of cement/ concrete

Based on Deprivation criteria given below:

  1. Households with one or less room, Kuccha walls and kuccha roof
  2. No adult member in household between age 18 and 59
  3. Female headed household with no adult male member between 16 and 59
  4. Households with differently-abled member with no other able bodied adult member
  5. SC/ST Households
  6. Households with no literate adult above age 25 years
  7. Landless households deriving a major part of their income from manual labour
We find at least 48.5 % of the households are having at least one of the “Criteria” of deprivation. Kindly note that all SC/ ST are categorized as deprived households which may not be true for some of them.

Assets and Liabilities

DescriptionDetails
Asset HoldingInterestingly 21% of Rural households possess 2/ 3/ 4 wheeler vehicles/ mechanized boats and 11% have refrigerators
Income TaxOnly 5.5% of rural households pay income tax
Landholding56% are landless, with only 30% holding land

Disclaimer

The data of SECC does not and cannot super impose itself fully on the census data. While there is a high degree of compatibility in the two sets of data the findings could be different because the duration of census and that of SECC is different. Census 2011 on the other hand was conducted during the period 9th to 28th February 2011. Socio Economic Caste Census 2011 was largely carried out in 2011 and 2012 with a few states taking enumeration and verification in 2013 also.

Summary

  • If only 1 in 3 households are land owners, does it even make sense for the Government to have a Land Bill? Why not just be a facilitator and get out of the way?
  • The low percentage of tax base in the rural households points to simplifying and eventually removing Income Tax altogether for everyone.
  • Revenue shortfall from Income Tax collection can be made up by auctioning and perhaps taxing consumption as a Value Added Tax.
Note:
1. The conversion rate used in this article is 1 USD = 62.5 Rupees.
https://performancegurus.net/portfolio-items/socio-economic-caste-census-2011-a-path-breaking-effort/

Koliya 'iron smelters' Māyā's dream karaba 'elephant'; gaRe, karbe, garbha 'womb' rebus: karb 'iron'

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Mirror: http://tinyurl.com/o3msqyp

In the context of sculptural representations of Māyā's dream of the Buddha entering her womb, and of mlecchita vikalpa ('meluhha cipher') writing system, it is suggested that karibha, karaba 'elephant' is also signified by an allograph: gaRe, karbe'womb, egg, pregnancy'. The signified message is the rebus-metonymy-layered gloss: karba'iron'. Iron has entered womb of Koliya kolhe'smelter'.

karabhá  ʻ young elephant ʼ BhP.[Poss. a non -- aryan kar -- ʻ elephant ʼ also in karḗṇu -- , karin -- EWA i 165]Si. karaba ʻ young elephant or camel ʼ.Pa. kalabha -- m. ʻ young elephant ʼ, Pk. kalabha -- m., °bhiā -- f., kalaha -- m.; Ku. kalṛo ʻ young calf ʼ; Or. kālhuṛi ʻ young bullock, heifer ʼ; Si. kalam̆bayā ʻ young elephant ʼ.(CDIAL 2797)

Thus, when Māyā's dream signifies a white elephant, the glosses related are: Hieroglyph 1: karaba'elephant' Hieroglyph 2: gaRe, karbe, garbha'womb, pregnancy, egg'. Rebus: karba 'iron'. Dreaming of karba 'iron' entering the womb is comparable to the iron ore entering the smelter to emerge as iron metal -- a process which was the life-activity of Māyā's people: koliya, kolhe 'iron smelters'.

Māyā's dream is a sacred, hallowed tradition in Bauddham and the narrative is revered in ancient sculptures and ancient texts. This tradition is further elaborated by the use of Meluhha hieroglyphs which are read rebus, validating the Meluhha hieroglyph cipher for the ancient, unambiguous vernacular of Indian sprachbund

The note argued that sculptural representation of this dream of a hallowed tradition deployed hieroglyphmultiplextexts. The central thesis is: many hieroglyphs rendered on the 'Māyā's dream sculptures' are a continuum of the Meluhha hieroglyphs (aka Indus writing). See: http://bharatkalyan97.blogspot.in/2014/03/interpretation-of-mayas-dream-in.html The suggestion was that Māyā is a Koliya, i.e. she is a kole, a community working in iron. kol ‘working in iron’ (Tamil) and hence, the 'elephant' hieroglyph signified ib'iron'.

In the context of deciphering elephant rendered in hieroglyphmultiplextexts on Indus Script Corpora including Sanchi/Bharhut sculptural friezes, the following rebus renderings emerge:

Hieroglyph components: kara PLUS ibha 'elephant's trunk PLUS elephant' rebus: karb 'iron'

"The Dream of Queen  Māyā" Sanchi Stupa torana, 1st c. Dream of elephant entering by her side:






Musée des Arts Asiatiques de San Francisco Asie du Sud jusqu'en 600 Asie du Sud (Inde - Pakistan - Bangladesh - Sri Lanka)  Troisième étage - Section 1 Sept scènes de la vie de Bouddha Elément 7 sur 28 Arts d'Extrême-Orient Sculpture (Bas-relief) 28 cm X 25 cm X 5 cm Object ID: B64S5 Avery Brundage Collection. Gandhara.Designation: The Conception of the Buddha-to-be in Queen Māyā's dream. "And lying down on the royal couch, Queen Māyā fell asleep and dreamed the following dream: Four guardian angels came and lifted her up, together with her couch, and took her away to the Himalaya Mountains. . . . Now the Buddha-to-be had become a superb white elephant and was wandering about at no great distance. . . . And three times he walked round his mother's couch, with his right side towards it, and striking her on her right side, he seemed to enter her womb. Thus the conception took place in the Midsummer Festival." (Adapted from Henry Clark Warren's 1896 translation of an ancient Buddhist text)

Hieroglyphmultiplextext of stalks as horns is displayed on another frieze of Sanchi with an elephant ligatured to the body of a bull:
Hieroglyph multiplex: Sanchi stupa. railing. 2nd cent. BCE. Hieroglyphs are: elephant (face, trunk), bull (body), safflower, leafless stalks as horns

Hieroglyphs:
With  karaṇḍā 'stalks' as koD 'horns' and artisans (carrying goads or weapons or काण्डी kANDI 'little stalk or stem') hieroglyph components added as signifiers on the frieze:

sangaḍi = joined animals (Marathi) [In this hieorglyphmultiplex, body of a bull is joined to the face and trun of an elephant]
Rebus: saMghAta 'caravan'

barad, barat, 'bull' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi) bharana id. (Bengali)
करडी [ karaḍī ] f (See करडई) Safflower Rebus: खरडा [ kharaḍā ] scribbling, engraving Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c. PLUS kolmo 'three' Rebus: kolimi 'smithy, forge'. 
kara ‘elephant’s trunk’ rebus: khar ‘blacksmith’ PLUS ibha 'elephant' Rebus: ibbo 'merchant' Pronounced together: (kar+ibbha) karb ‘iron’ (See: Tulu. ajirda karba very hard iron; karba iron.)

Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: khāṇḍā 'tools, pots and pans, metal-ware'. ayaskāṇḍa 'a quantity of iron, excellent iron'.  http://bharatkalyan97.blogspot.com/2015/07/proving-validity-of-deciherment-of.html

On a further review of Meluhha (Indian sprachbund) glosses, another gloss may be a homonym for karba 'iron'. The cognate glosses are: gaRe 'to mold, to shape (of a child in the womb); karuvu 'foetus'; karbe, kerba, garba 'egg'.

Ta. karu foetus, embryo, egg, germ, young of animal; karuppai womb; karuvam foetus, embryo. Ma. karu embryo, yolk; karuntala generation. Ko. karv foetus of animal, larva of bees; pregnant (of animals). To. kef pregnant, in: kef ïr pregnant buffalo, kef nïl- to become pregnant, of animals. Ka. kandu foetus of beasts (? or with 1411 Ta. kaṉṟu). Te. karuvu foetus; (B.) kari uterus of animals; karugu an unopened ear of corn. Pa. kerba (pl. kerbel) egg. Ga. (Oll.) karbe id. Go. (Ko.) garba egg (Voc. 1054); (Koya Su.) garbūm id. ? Malt. káre to form as the stone or seed of a fruit. (DEDR 1279)

<gaRe>(DLL)  {V(lay)} ``to ^mold, to ^shape (of pottery, of a child in the womb)''.  Nom. <g[An]aRe>; syn. <sAbja(lay)>.  #27741.  <gaRe-n-bOj>(LMy)  {N} ``deity who shapes the child in the womb''.  Syn. <sAbja-n-bOj>, <oyoG-bOj>.  #27750.So<gaRe>(DLL)  {V(lay)} ``to ^mold, to ^shape (of pottery, of a child in the womb)''.  Nom. <g[An]aRe>; syn. <sAbja(lay)>.<grObObasO>(M)  {N} ``^pregnancy''.  %11901.  #11811. (Munda etyma) 

gárbha m. ʻ womb, foetus, offspring ʼ RV., ʻ inside, middle ʼ MBh.Pa. Pk. gabbha -- m. ʻ womb, foetus, interior ʼ; NiDoc. garbha ʻ foetus ʼ; K. gab m. ʻ womb, sprout of a plant ʼ; S. g̠abhu m. ʻ foetus, kernel, pith ʼ; L. gabbhā m. ʻ young calf ʼ, (Ju.) g̠abh m. ʻ foetus ʼ; P. gabbh m. ʻ foetus ʼ, gabbhā m. ʻ vulva, interior ʼ; Ku. gāb ʻ foetus ʼ, gng. ʻ sprout ʼ; N. gābh ʻ secret ʼ, gābho ʻ core, inside (e.g. of a fruit) ʼ; B. gāb ʻ foetus ʼ, gāb(h)ā ʻ foetus, spathe of a plant, river -- bed ʼ; Mth. gābh ʻ womb (of animals) ʼ; H. gābh m. ʻ pregnancy (esp. of animals) ʼ, gābhā m. ʻ new leaf springing from centre of plaintain tree ʼ, gāb m. ʻ pulp, pith ʼ; G. gābh, ghāb m. ʻ foetus (of animals) ʼ, gābhɔ, ghābɔ m. ʻ any filling of a hollow, pulp ʼ; M. gābh m. ʻ foetus, recess among the hills ʼ, gābhā m. ʻ heart, core ʼ; Ko. gābu ʻ foetus (of animals) ʼ, gābbo ʻ inner core of plaintain stem ʼ; Si. gäba, gaba ʻ womb ʼ. -- Deriv. K. gọ̆bu ʻ heavy ʼ; N. gābhinu ʻ to conceive (of cattle) ʼ; A. gabhiyā ʻ one who lives with his wife's family ʼ; Or. gābhil ʻ with young (of animals) ʼ; Si. gäm̆bili ʻ pregnant ʼ H. Smith JA 1950, 196. -- X *gudda -- : N. gubho ʻ core ʼ; H. gubhīlā ʻ lumpy ʼ. -- X *gudda -- or kukṣí -- : L. gubbh f. ʻ pot -- belly ʼ. garbhíṇī -- , gārbha -- ; sagarbha -- ; *garbhaghara -- , garbharūpa -- , *garbhavāra -- , garbhasrāva -- , garbhāgāra -- .Addenda: gárbha -- : A. gāb ʻ pregnancy ʼ (CDIAL 4055)

Interpretation of Māyā's dream

Māyā had a dream in which she saw an elephant (ibha 'elephant' rebus: 
ib 'iron'). King Śuddhodana and his soothsayers interpreted the dream that she would bear a son who with detached passion would satisfy the world with sweetness of his ambrosia.
portion of narrative frieze depicting Maya's Dream

Amaravati. Portion of narrative frieze depicting Māyā's Dreamca. second century CE, 101 CE - 200 CE H - ca. 12.50 in Madras Government Museum, Madras, Tamil Nadu, India.

Dream of Queen Maya 

Peshawar sculptural fragment depicting Māyā's DreamKusana. a. mid-first to mid-third century CE, 50 CE - 250 CE grey stone H - ca. 5.00 in Indian Museum, Calcutta, West Bengal, India
Relief with conception of the Buddha
North West Frontier relief sculpture fragment Māyā's Dream  Kusana ca. 1st c.-2nd c. CE, 100 BCE - 300 CE grey schist H - ca. 5.50 in National Museum, Karachi, Pakistan
events from the life of Sakyamuni Buddha
Sarnath. Buddha life scenes. ca. fifth century CE, 401 CE - 500 CE buff sandstoneH - ca. 35.13 in W - ca. 19.50 inNational Museum, New Delhi, India. The bottom register to the left, interpretsMāyā's dream. Descent of the elephant.
section of a vedika pillar with relief of two vrksadevatas and inscription
Bharhut stupa. Inscription in Brahmi. brown sandstone Sunga ca. 100-80 BCE, 100 BCE - 80 BCE Indian Museum, Calcutta, West Bengal, India. Bottom register shows descent of elephant in Māyā's dream.




Māyā's Dream at Bharhut. from the collection of Dr David Efurd, Wofford College.  
"Dreams (supina) are mental images that occur during sleep. There is widespread belief that dreams have some significance. Some people believe they foretell the future, others that the dead can communicate with the living through them. Modern psychoanalysts say that when interpreted correctly, dreams can offer an insight into suppressed desires and drives and thus can lead to a deeper self-understanding. Buddhist psychology recognizes several types of dreams. According to the Milindapanha these are (1) dreams caused by physical stress, (2) by psychological irritability, (3) by spirits, (4) because of mental clarity and (5) prophetic dreams (Mil.II,298). It also says that dreams mainly occur in the interval either between falling asleep or waking up (okkante middhe) and deep sleep (asampatte bhavnge, Mil.II,299), a fact confirmed by science. Before the Buddha was enlightened, he had seven dreams full of strange symbolism which did in fact foretell his enlightenment (A.III,240). However, he was sceptical of those who claimed that they could interpret other people’s dreams and he forbade monks and nuns from doing so (D.I,8). He said that a person who does loving kindness meditation (metta bhavana) will not be disturbed by nightmares (A.V,342) and also that a monk who falls to sleep mindfully will not have a wet dream (A.III,251). The Buddha also said that dreaming of doing something, i.e. killing someone or stealing something, is not ethically significant and therefore has no kammic effect (Vin.III,111). Thus he understood that dreams are beyond the power of the will. Legend says Maha Māyā, Prince Siddhattha’s mother, had a dream dreamed of a white elephant soon after he was conceived and that this was a portent of his future greatness. The story is not in the Tipitaka and the earliest version of it is found in the Jatakanidana 50." This quote refers to okkanti in the context of dreams and I suggest that Rhys Davids' reading of the inscriptio on Bharhut stupa is the correct one.

Sage Asita explaining Māyā's dream, Kushan, Gandhara, India, 2nd-3rd C. Indian Sculpture-The Asian Arts Museum of Sanfrancisco, California, ACSAA

Maya's Dream and Interpretation (Period III)

Government Museum, Chennai. "Māyā's Dream and Interpretation (Period III) On the left panel, Māyā is shown reclining. Below the couch four women attendents are shown half asleep. Four turbaned men of rank stand as guards at the four corners of the couch. In the right panel Māyā is seen seated on a small wicker seat in front of the King while a Brahmana is seated to the left of the king. The Brahmana holds up his two fingers suggesting two possibilities regarding the future of the child to be born. The two possibilities are that either he would be a monarch, if he adopted the life of a house-holder or  he would become the Buddha, if he renounced the world."

Detail of the top of the sandstone Vedica pillar, half-roundel at top of vedika pillar with composite creatures in relief:



The top register o this relief shows ligatured antelopes back-to-back; the next register from the top shows a bull ligatured to a makara (crocodile with curved fish tail).
 half-roundel at top of vedika pillar with composite creatures in relief

Detail of the roundel:

vedika roundel with image of Maya's Dream in relief

Borobodur Indonesia 3rd level (gallery); volcanic rock; wall east side, south end Māyā's dream bove: Queen Māyā dreams (from Lalitavistara); below: Sudhana learns about Manohara from his mother (from Jataka). Saildendra Dynasty (778- 926) ca. late 8th century CE, 750 CE - 799 CE



A makara and merchant Ship Scene, Borobudur

Sarasvati -- divinity of knowledge -- holding a veena on her left hand. Sarasvati sculpture from Uttar Pradesh. 6th century. Sandstone. H 84.2 cm. Museum of Fine Arts, Houston. Sarasvati 33 1/8 x 24 1/2 x 7 3/4 inches "Sarasvati is the Hindu goddess of learning and the arts. She is the consort of Brahma, the god of creation and source of all knowledge. Because Brahma created Sarasvati from his own flesh and blood, she is often regarded as the embodiment of knowledge and creativity.  This sandstone representation draws attention to Sarasvati's importance as the divine patron of the arts. As in many depictions, she is seen here seated upon a sacred lotus blossom, the symbol of supreme knowledge and spiritual truth. An avid musician, Sarasvati is shown playing a musical instrument called a veena. The neck and base of the veena can still be seen on this figure, though the body of the instrument is no longer intact.  Sarasvati is depicted with a serene smile as she sways gently to the music. Her attendants dance around her, one accompanying Sarasvati on a flute and another on a small drum. Because of Sarasvati's importance in all things intellectual and artistic, many students, scholars, poets, musicians, painters, and sculptors look to her for guidance and support."
above: a brahman interprets Queen Maya's dream (from Lalitavistara); below: Sudhana visits King Druma (from Jataka)
Interpretation of Māyā's dream by a Brahman. Borobodur  Indonesia Above: a brahman interprets QueenMāyā's dream (from Lalitavistara); below: Sudhana visits King Druma (from Jataka)

Buddha annunciates in the form of Mahā Māyā's dream in which Māyā sees a white elephant descending from the skies to enter her womb. The would-be son was to be a Universal Emperor or a Buddha. Dream turned into reality, she goes to her parents in Devahrada, the child Gautama is born as she supports herself by the branch of a tree in Lumbini park and the Buddha was turning the wheel to be Lord.


Queen Maha Māyā was the daughter of King Anjana of the Koliyas. The Koliyan princess was named  Mahā Māyā. Māyā and Suddhodana ruled over the Sakyas, a warrior tribe living next to the Koliya tribe, in the north of India, in what is now known as Nepal. 


Interpreting the dream, Bauddham literature has this narrative:


"(Queen Māyā)...had a vivid dream. She felt herself being carried away by four devas (spirits) to Lake Anotatta in the Himalayas. After bathing her in the lake, the devas clothed her in heavenly cloths, anointed her with perfumes, and bedecked her with divine flowers. Soon after a white elephant, holding a white lotus flower in its trunk, appeared and went round her three times, entering her womb through her right side. Finally the elephant disappeared and the queen awoke, knowing she had been delivered an important message, as the elephant is a symbol of greatness in Nepal. The next day, early in the morning, the queen told the king about the dream. The king was puzzled and sent for some wise men to discover the meaning of the dream.The wise men said, "Your Majesty, you are very lucky. The devas have chosen our queen as the mother of the Purest-One and the child will become a very great being." The king and queen were very happy when they heard this. They were so pleased that they invited many of the noblemen in the country to the palace to a feast to tell them the good news. Even the needy were not forgotten. Food and clothes were given to the poor people in celebration. The whole kingdom waited eagerly for the birth of the new prince, and Queen Māyā enjoyed a happy and healthy pregnancy, living a pure life for herself and her unborn child."

http://www.buddhanet.net/e-learning/buddhism/lifebuddha/1lbud.htm

The dream is rendered as a metaphor in texts and in sculptures. One sculptural representation comes with every book from Sahitya Akademi, India with a note:


The sculpture reproduced on the end-paper depicts a scene where three soothsayers are interpreting to King Suddhodana the dream of Queen Māyā, mother of Lord Buddha. Below them is seated a scribe recording the interpretation. This is perhaps the earliest available pictorial record of the art of writing in India.


From Nagarjunakonda, 2nd Century CE

Courtesy: National Museum, New Delhi.
[Sahitya Akademi_dream_of_queen_maya.jpg]

File:MayaDream.jpg
Queen Māyā's white elephant dream, and the conception of the Buddha. Gandhara, 2-3rd century CE.

Ananda temple revering the Buddha's life. Stone sculpture. Southeast of Tharabar gate. 1105 CE. Region: Old Bagan, Myanmar. (King Kyanzittha). 




File:Bhagvato bharhut.JPG
The descent of Buddha, Bharhut. British Library. Beglar, Joseph David, 1875

Buddha's birth (BharhutBrahmi text: bhagavato rukdanta. Gen. Cunningham reads the letters as Bhagavato okkanti (?ukkanti); thus, the text simply says: 'descent of the blessed one'. Association with the elephant in Māyā's dream may be a figure of speech to explain the incarnation, avatāra. General Cunning-ham says of the description placed above this sculpture : ' Above it 

in large characters is inscribed Bhagavato rukdanta, which may perhaps be translated, "Buddha as the sounding elephant," from ru, to sound, to make a particular sort of sound.' Now the first word of the inscription is in the genitive case, so that if the second word could mean an elephant, the whole would signify, ' The Buddha's elephant.' But the characters which General Cunningham reads rukdanta are, I venture to suggest, okkanti (^ ukkanti); and the inscription simply says, ' The descent of the blessed One.' As I have pointed out in 'Buddhism' (Cunningham, Alexander, 1879, The stupa of Bharhut: a Buddhist monument ornamented with numerous sculptures illustrative of Buddhist legend and history in the 3rd century BCE, Published by order of the Secretary of State for India in Council, London, WH Allen and Co., p.184).

This interpretation of the Brahmi text is rejected by Rhys Davids. 

Brahmi inscription says okkanti, NOT rukdanti (falsely claimed by Cunningham)

"Plate xxviii has a scene entitled Bhagavato Okkanti (The descent of the blessed one), in illustration of Māyā Devi's dream...Footnote 7: General Cunningham's reading of this inscription as Bhagavato rukdanta seems to me to be incorrect, and his translation of it ('Buddha as the sounding elephant') to be grammatically impossible."(Davids, TW Rhys, Buddhist birth-stories (Jataka tales): the commentarial introduction entitled Nidaana Kathaa, the story of the lineage, translated from Prof. V. Fausboll's edition of the Pali text by TW Rhys Davids, London,  George Rouledge and Sons, New York: EP Dutton and Co., p. 248)

Gloss: okkanti explained in Pali:

Avakkanti (f.) [fr. avakkamati] entry, appearance, coming down into, opportunity for rebirth S ii.66 (nāmarūpassa); iii.46 (pañcannaŋ indriyānaŋ); Pug 13 (= okkantinibbatti pātubhāvo PugA 184); Kvu 142 (nāmarūpassa); Miln 123 (gabbhassa). Okkanta [pp. of okkamati] coming on, approaching, taking 
place D ii.12; Miln 299 (middhe okkante).

āˊkramatē ʻ approaches ʼ RV., ʻ ascends ʼ AV., ʻ seizes ʼ MBh.[√kramPa. akkamati  ʻapproaches, treads on, attacks ʼ; Pk. akkamaï ʻ presses, attacks ʼ; N. ã̄knu ʻ to venture, dare ʼ (?); Si. äkmenavā ʻ to be crushed, be seized ʼ der. tr. (CDIAL 1017).

Okkanti (f.) [fr. okkamati] entry (lit. descent), appearance, coming to be. Usually in stock phrase jāṭi sañjāti o. nibbatti M iii.249; S ii.3; iii.225; Nd2 257; Pug A 184. Also in gabbh˚ entry into the womb DA i.130. Okkantika (adj.) [fr. okkanti] coming into existence again and again, recurring. Only as epithet of pīti, joy. The opposite is khaṇika, momentary Vism 143 = DhsA 115 (Expositor153 trsls. "flooding"). Okkanta [pp. of okkamati] coming on,approaching, taking place D ii.12; Miln 299 (middhe okkante).


The author of the translation of Lalita-vistara, Rajendralal Mitra comments about the references to Buddha as 'Bhagavato':
    "Bhagavan, nominative singular of the crude form Bhagavat -- Bhagava, Pali, Btchcom Idandasa, Tibetan. The technology of the Buddhists is to a great extent borrowed from the literature of the Brahmans. The Vija-mantra of Buddha begins with Om, their metaphysical terms are exclusively Hindu, and the names of most of their divinities are taken from the Hindu pantheon.
    The word Bhagavan, which, according to the Abhidharma-kosha-vyakhya, a Bauddha work of great repute, "is not an arbitrary or superflous, but the most appropriate title of Buddha," has been, by the Vedas, used to designate the Deity's self. It is said in the Vishnu Purana, in accordance with the interpretation of Yaksa, that, "the essence of the Supreme is defined by the term Bhagavan: the word Bhagavan is the denomination of the primeval and eternal god: and he who fully understands the meaning of that expression is possessed of holy wisdom, the sum and substance of the three Vedas. The word Bhagavan is a convenient form to be used in the adoration of that Supreme Being, to whom no terms is applicable, and therefore Bhagavan expresses that supreme spirit, which is individual, almighty, and the cause of all things."
    The dissyllable Bhaga indicates the six properties, dominion, might, glory, splendour, wisdom, and dispassion. The purport of that va is that elemental spirit in which all beings exist, and which exists in all beings." (The usual itymon of the word, however, is Bhaga with the possessive affix.) "This word, therefore, which is the general denomination of an adorable object, is not used in reference to the Supreme in a general, but a special signification. When applied to any other (person) it is used in its customary or general import. In the latter case, it may purport one who knows the origin and end and revolutions of beings, and what is wisdom, what ignorance. In the former it denotes wisdom, energy, dominion, might, glory, without end, and without defect.
    All the Sutras invest S'akya Sinha with this title, and, next to Tathagata, it is perhaps the most common appellation of Buddha."

Lalitavistara (trans. "The Play in Full" or "Extensive Play"): Chapter 6 The Bodhisattva enters into the human world via the womb of Queen Māyā, where he resides for the duration of the pregnancy within a beautiful temple, enjoying the happiness of absorption. On Lalitavistara:  http://www.ibiblio.org/radha/rpub007.htm


The birth of the Buddha is described in Chapter 6 ६ गर्भावक्रान्तिपरिवर्तः षष्ठः 6 garbhāvakrāntiparivartaḥ ṣaṣṭhaḥ| That is, the incarnation in birth.


Māyā's dream is part of many narratives. One such narrative is: The Illustrated Jataka & Other Stories of the Buddha by C.B. Varma excerpted:



"The day when the Buddha was to be conceived she kept fast; and at night she had a dream. In her dream she saw that the four devas, called the Chatumaharajas, took her to the Himava and placed her on a bed under a Sal tree. Then the wives of the devas came and bathed her in the Lake Anottata and dressed her in divine robes. They then took her to a golden palace and laid her in a magnificent couch, where the Bodhisatta in the form of a white elephant holding a white lotus in his resplendent trunk entered her womb through her right side. That was a full-moon day of Uttara Asalha to mark the beginning of a seven-day festival. She, too, had participated in the festival. Furthermore, on that day she did not sleep with her husband. 
Mahā Māyā musing at her dream
"Next day, she told the dream to the king, who in turn consulted the court astrologers, and from them heard the prophecy that the child would either be universal monarch or a Buddha."
King Suddhodana and Mahā Māyā analysing the dream

Jatakanidana 50 also has an account of Māyā's dream.

A red sandstone head of the Buddha from Mathura, 2nd Century CE.

Encyclopaedia Britannica reproduces the following images:

“Dream of Māyā”

EB Image
Mahā Māyā dreaming of the white elephant, Gandhara relief, 2nd century CE; in the British Museum.

Another version of the birth in sculpture:

6 garbhāvakrāntiparivartaḥ ṣaṣṭhaḥ|
iti hi bhikṣavaḥ śiśirakālavinirgate vaiśākhamāse viśākhānakṣatrānugate ṛtupravare vasantakālasamaye taruvarapatrākīrṇe varapravarapuṣpasaṁkusumite śītoṣṇatamorajovigate mṛduśādvale susaṁsthite tribhuvanajyeṣṭho lokamahito vyavalokya ṛtukālasamaye pañcadaśyāṁ pūrṇamāsyāṁ poṣadhagṛhītāyā mātuḥ puṣyanakṣatrayogena bodhisattvastuṣitavarabhavanāccyutvā smṛtaḥ saṁprajānan pāṇḍuro gajapoto bhūtvā ṣaḍdanta indragopakaśirāḥ suvarṇarājīdantaḥ sarvāṅgapratyaṅgo'hīnendriyo jananyā dakṣiṇāyāṁ kukṣāvavakrāmat| avakrāntaśca sa dakṣiṇāvacaro'bhūnna jātu vāmāvacaraḥ| māyādevī sukhaśayanaprasuptā imaṁ svapnamapaśyat—
himarajatanibhaśca ṣaḍviṣāṇaḥ
sucaraṇa cārubhujaḥ suraktaśīrṣaḥ|
udaramupagato gajapradhāno
lalitagatirdṛḍhavajragātrasaṁdhiḥ||1||
na ca mama sukha jātu evarūpaṁ
dṛṣṭamapi śrutaṁ nāpi cānubhūtam|
kāyasukhacittasaukhyabhāvā
yathariva dhyānasamāhitā abhūvam||2||
atha khalu māyādevī ābharaṇavigalitavasanā prahlāditakāyacittā prītiprāmodyaprasādapratilabdhā śayanavaratalādutthāya nārīgaṇaparivṛtā puraskṛtā prāsādavaraśikharādavatīrya yenāśokavanikā tenopajagāma| sā aśokavanikāyāṁ sukhopaviṣṭā rājñaḥ śuddhodanasya dūtaṁ preṣayati sma-āgacchatu devo devī te draṣṭukāmeti||
atha sa rājā śuddhodanastadvacanaṁ śrutvā praharṣitamanā ākampitaśarīro bhadrāsanādutthāya amātyanaigamapārṣadyabandhujanaparivṛto yenāśokavanikā tenopasaṁkrāmat, upasaṁkrāntaśca na śaknoti sma aśokavanikāṁ praveṣṭum| gurutaramivātmānaṁ manyate sma| aśokavanikādvāre sthito muhūrtaṁ saṁcintya tasyāṁ velāyāmimāṁ gāthāmabhāṣata—
na smari raṇaśauṇḍi mūrdhasaṁsthasya mahyam
eva guru śarīraṁ manyamī yādṛśo'dya|
svakulagṛhamadya na prabhomi praveṣṭuṁ
kimiha mama bhave'ṅgo kānva pṛccheya cāham||3|| iti||
atha khalu śuddhāvāsakāyikā devaputrā gaganatalagatā ardhakāyamabhinirmāya rājānaṁ gāthayādhyabhāṣanta—
vratatapaguṇayuktastisralokeṣu pūjyo
maitrakaruṇalābhī puṇyajñānābhiṣiktaḥ|
tuṣitapuri cyavitvā bodhisattvo mahātmā
nṛpati tava sutatvaṁ māyakukṣaupapannaḥ||4||
daśanakha tada kṛtvā svaṁ śiraṁ kampayanto
nṛpatiranupraviṣṭaścitrikārānuyuktaḥ|
māya tada nirīkṣya mānadarpopanītāṁ
vadahi kurumi kiṁ te kiṁ prayogo bhaṇāhi||5||
devyāha—
himarajatanikāśaścandrasūryātirekaḥ
sucaraṇa suvibhaktaḥ ṣaḍviṣāṇo mahātmā|
gajavaru dṛḍhasaṁdhirvajrakalpaḥ surūpaḥ
udari mama praviṣṭastasya hetuṁ śruṇuṣva||6||
vitimira trisahasrāṁ paśyamī bhrājamānāṁ
devanayuta devā ye stuvantī sayānā|
na ca mama khiladoṣo naiva roṣo na moho
dhyānasukhasamaṅgī jānamī śāntacittā||7||
sādhu nṛpati śīghraṁ brāhmaṇānānayāsmin
vedasupinapāṭhā ye gṛheṣū vidhijñāḥ|
supinu mama hi yemaṁ vyākarī tattvayuktaṁ
kimida mama bhaveyā śreyu pāpaṁ kulasya||8||
vacanamimu śruṇitvā pārthivastatkṣaṇena
brāhmaṇa kṛtavedānānayacchāstrapāṭhān|
māya purata sthitvā brāhmaṇānāmavocat
supina mayi ha dṛṣṭastasya hetuṁ śṛṇotha||9||
brāhmaṇā āhuḥ-brūhi devi tvayā kīdṛśaṁ svapnaṁ dṛṣṭam| śrutvā jñāsyāmaḥ|
devyāha—
himarajatanikāśaścandrasūryātirekaḥ
sucaraṇa suvibhaktaḥ ṣaḍviṣāṇo mahātmā|
gajavaru dṛḍhasaṁdhirvajrakalpaḥ surūpaḥ
udari mama praviṣṭastasya hetuṁ śṛṇotha||10||
vacanamimu śruṇitvā brāhmaṇā evamāhuḥ
prīti vipula cintyā nāsti pāpaṁ kulasya|
putra tava janesī lakṣaṇairbhūṣitāṅgaṁ
rājakulakulīnaṁ cakravarti mahātmaṁ||11||
sa ca pura vijahitvā kāmarājyaṁ ca gehaṁ
pravrajita nirapekṣaḥ sarvalokānukampī|
buddho bhavati eṣo dakṣiṇīyastriloke
amṛtarasavareṇā tarpayet sarvalokam||12||
vyākaritva giraṁ saumyāṁ bhuktvā pārthivabhojanam|
ācchādanāni codgṛhya prakrāntā brāhmaṇāstataḥ||13||
iti hi bhikṣavo rājā śuddhodano brāhmaṇebhyo lakṣaṇanaimittikavaipañcakebhyaḥ svapnādhyāyīpāṭhakebhyaḥ pratiśrutya hṛṣṭastuṣṭa udagra āttamanāḥ pramuditaḥ prītisaumanasyajātastān brāhmaṇān prabhūtena khādanīyabhojanīyāsvādanīyena saṁtarpya saṁpravāryācchādanāni ca datvā visarjayati sma| tasyāṁ velāyāṁ kapilavastuni mahānagare caturṣu nagaradvāreṣu sarvanagaracatvaraśṛṅgāṭakeṣu ca dānaṁ dāpayati sma annamannārthikebhyaḥ, pānaṁ pānārthikebhyaḥ, vastrāṇi vastrārthikebhyaḥ, yānāni yānārthikebhyaḥ| evaṁ gandhamālyavilepanaśayyopāśrayaṁ prājīvikaṁ prājīvikārthibhyo yāvadeva bodhisattvasya pūjākarmaṇe||
atha khalu bhikṣavo rājñaḥ śuddhodanasyaitadabhavat- katamasmin gṛhe māyādevī sukhamanupakliṣṭā viharediti| atha tatkṣaṇameva catvāro mahārājāno rājānaṁ śuddhodanamupasaṁkramyaivamāhuḥ—
alpotsuko deva bhava sukhaṁ tiṣṭha upekṣako|
vayaṁ hi bodhisattvasya veśma vai māpayāmahe||14||
atha khalu śakro devānāmindro rājānaṁ śuddhodanamupasaṁkramyaivamāha—
hīnā vimānā pālānāṁ trayatriṁśānamuttamāḥ|
vaijayantasamaṁ veśma bodhisattvasya dāmyaham||15||
atha khalu suyāmo devaputro rājānaṁ śuddhodanamusaṁkramyaivamāha—
madīyaṁ bhavanaṁ dṛṣṭvā vismitāḥ śakrakoṭayaḥ|
suyāmabhavanaṁ śrīmadbodhisattvasya dāmyaham||16||
atha khalu saṁtuṣito devaputro rājānaṁ śuddhodanamupasaṁkramyaivamāha—
yatraiva uṣitaḥ pūrvaṁ tuṣiteṣu mahāyaśāḥ|
tadeva bhavanaṁ ramyaṁ bodhisattvasya dāmyaham||17||
atha khalu sunirmito devaputro rājānaṁ śuddhodanamupasaṁkramyaivamāha—
manomayamahaṁ śrīmadvaśma tadratanāmayam|
bodhisattvasya pūjārthamupaneṣyāmi pārthiva||18||
atha khalu paranirmitavaśavartī devaputro rājānaṁ śuddhodanamupasaṁkramyaivamāha—
yāvantaḥ kāmadhātusthā vimānāḥ śobhanāḥ kvacit|
bhābhiste madvimānasya bhavantyabhihataprabhāḥ||19||
tat prayacchāmyahaṁ śrīmadveśma ratnamayaṁ śubham|
bodhisattvasya pūjārthamānayiṣyāmi pārthiva||20||
divyaiḥ puṣpaiḥ samākīrṇaṁ divyagandhopavāsitam|
upanāmayiṣye vipulaṁ yatra devī vasiṣyati||21||
iti hi bhikṣavaḥ sarvaiḥ kāmāvacarraidaiveśvarairbodhisattvasya pūjārthaṁ kapilāhvaye mahāpuravare svakasvakāni gṛhāṇi māpitānyabhūvan| rājñā capi śuddhodanena manuṣyātikrāntaṁ divyāsaṁprāptaṁ gṛhataraṁ pratisaṁskāritamabhūt| tatra bodhisattvo mahāsattvo mahāvyūhasya samādheranubhāvena sarveṣu teṣu gṛheṣu māyādevīmupadarśayati sma| abhyantaragataśca bodhisattvo māyādevyāḥ kukṣau dakṣiṇe pārśve paryaṅkamābhujya niṣaṇṇo'bhūt| sarve ca te deveśvarā ekaikamevaṁ saṁjānīte sma-mamaiva gṛhe bodhisattvamātā prativasati nānyatreti||
tatredamucyate—
mahāvyūhāya sthitaḥ samādhiye
acintiyā nirmita nirmiṇitvā|
sarveṣa devānabhiprāya pūritā
nṛpasya pūrṇaśca tadā manorathaḥ||22||
atha khalu tasyāṁ devaparṣadi keṣāṁciddevaputrāṇāmetadabhavat-ye'pi tāvaccāturmahārājakāyikā devāste'pi tāvanmanuṣyāśrayagatatvena nirvidyāpakramanti| kaḥ punarvādo ye tadanye udāratamā devāḥ trāyatriṁśā vā yāmā vā tuṣitā vā| tatkathaṁ hi nāma sarvalokābhyudgato bodhisattvaḥ śucirnirāmagandhaḥ sattvaratnaḥ saṁtuṣitāddevanikāyāccyutvā durgandhe manuṣyāśraye daśamāsān mātuḥ kukṣau sthita iti||
atha khalvāyuṣmānānando buddhānubhāvena bhagavantametadavocat-āścaryaṁ bhagavan yāvajjugupsanīyaśca mātṛgrāmastathāgatenokto yāvadrāgacaritaśca| idaṁ tu bhagavan āścaryataram| kathaṁ hi nāma sarvalokābhyudgato bhagavān pūrvaṁ bodhisattvabhūta eva tuṣitāddevanikāyāccyavitvā manuṣyāśraye (durgandhe) māturdakṣiṇe (pārśve) kukṣāvupapanna iti| nāhaṁ bhagavan idamutsahe evaṁ vaktaṁ yathaiva pūrve bhagavatā vyākṛtamiti| bhagavānāha-icchasi tvamānanda ratnavyūhaṁ bodhisattvaparibhogaṁ draṣṭuṁ yo mātuḥ kukṣigatasya bodhisattvasya paribhogo'bhūt| ānanda āha-ayamasya bhagavan kālaḥ, ayaṁ sugata samayaḥ, yattathāgatastaṁ bodhisattvaparibhogamupadarśayed yaṁ dṛṣṭvā prītiṁ vetsyāmaḥ||
atha khalu bhagavāṁstathārūpanimittamakarot, yad brahmā sahāpatiḥ sārdhamaṣṭaṣaṣṭibrahmaśatasahasrairbrahmaloke'ntarhito bhagavataḥ purataḥ pratyasthāt| sa bhagavataḥ pādau śirasābhivandya bhagavantaṁ tripradakṣiṇīkṛtyaikānte'sthāt prāñjalībhūto bhagavantaṁ namasyan| tatra khalu bhagavān jānanneva brahmāṇaṁ sahāpatimāmantrayate sma-gṛhītastvayā brahman sa bodhisattvaparibhogo daśamāsiko yo mama pūrvaṁ bodhisattvabhūtasya mātuḥ kukṣigatasyābhūt| brahmā āha-evametadbhagavan, evametat sugata| bhagavānāha-kva sa idānīṁ brahman? upadarśaya tam| brahmā cāha-brahmaloke sa bhagavan| bhagavānāha-tena hi tvaṁ brahman upadarśaya taṁ daśamāsikaṁ bodhisattvaparibhogam, jñāsyanti kiyatsaṁskṛtamiti||
atha khalu brahmā sahāpatistān brāhmaṇānetadavocat-tiṣṭhatu tāvadbhavanto yāvadvayaṁ ratnavyūhaṁ bodhisattvaparibhogamānayiṣyāmaḥ||
atha khalu brahmā sahāpatirbhagavataḥ pādau śirasābhivanditvā bhagavataḥ purato'ntarhitastatkṣaṇameva brahmaloke pratyasthāt||
atha khalu brahmā sahāpatiḥ subrahmāṇaṁ devaputrametadavocat-gaccha tvaṁ mārṣā ito brahmalokamupādāya yāvattrāyatriṁśadbhavanam-śabdamudīraya, ghoṣamanuśrāvaya| ratnavyūhaṁ bodhisattvaparibhogaṁ vayaṁ tathāgatasyāntikamupanāmayiṣyāmaḥ| yo yuṣmākaṁ draṣṭukāmaḥ sa śīghramāgacchatviti||
atha khalu brahmā sahāpatiścaturaśītyā devakoṭyā nayutaśatasahasraḥ sārdhaṁ taṁ ratnavyūhaṁ bodhisattvaparibhogaṁ parigṛhya mahati brāhme vimāne triyojanaśatike pratiṣṭhāpyānekairdaivakoṭīnayutaśatasahasraiḥ samantato'nuparivārya jambūdvīpamavatārayati sma||
tena khalu punaḥ samayena kāmāvacarāṇāṁ devānāṁ mahāsaṁnipāto'bhūt bhagavatsakāśe gantum| sa khalu puna ratnavyūho bodhisattvaparibhogo divyairvastrairdivyairmālyairdivyairgandhairdivyaiḥ puṣpairdivyairvādyairdivyaiśca paribhaugairabhisaṁskṛto'bhūt| tāvanmaheśākhyaiśca devaiḥ parivṛto'bhūd yacchakro devānāmindraḥ sumerau(samudre) sthitvā dūrata eva mukhe tālacchatrakaṁ dattvā śīrṣavyavalokanenānuvilokayati sma unmeṣadhyāyikayā vā| na ca śaknoti sma draṣṭum| tatkasmāt? maheśākhyā hi devā brāhmaṇāḥ| itarāstrāyatriṁśā yāmāstuṣitā nirmāṇaratayaḥ paranirmitavaśavartinaḥ| kaḥ punarvādaḥ śakro devānāmindraḥ| mohaṁ te vai yānti sma||
atha khalu bhagavāṁstaṁ divyaṁ vādyanirghoṣamantardhāpayati sma| tatkasmāt? yatsahaśravaṇādeva jāmbudvīpakā manuṣyā unmādamāpatsyanta iti||
atha khalu catvāro mahārājānaḥ śakraṁ devānāmindramupasaṁkramyaivamāhuḥ-kathaṁ devānāmindra kariṣyāmo na labhāmahe ratnavyūhaṁ bodhisattvaparibhogaṁ draṣṭum| sa tānavocat-kimahaṁ mārṣāḥ kariṣyāmi? ahamapi na labhe draṣṭum| api tu khalu punarmārṣā bhagavatsamīpamupanītaṁ drakṣyāmaḥ| te tadā āhuḥ-tena hi devānāmindra tathā kuru yathāsya kṣipraṁ darśanaṁ bhavet| śakra āha-āgamayata mārṣā muhūrtaṁ yāvadatikrāntātikrāntatamā devaputrā bhagavantaṁ pratisaṁmodayante sma| tadekānte sthitvā śīrṣonmiñjitakayā bhagavantamanuvilokayanti sma||
atha khalu brahmā sahāpatiḥ sārdhaṁ taiścaturaśītyā devakoṭīnayutaśatasahasraistaṁ ratnavyūhaṁ bodhisattvaparibhogaṁ gṛhītvā yena bhagavāṁstenopasaṁkrāmayati sma| sa khalu puna ratnavyūho bodhisattvaparibhogo'bhirūpaḥ prāsādiko darśanīyaścaturasraścatuṣṭhūṇaḥ| upariṣṭācca kūṭāgārasamalaṁkṛtaḥ | evaṁpramāṇaḥ tadyathāpi nāma ṣaṇmāsajāto dāraka uccaistvena| tasya khalu punaḥ kūtāgārasya madhye paryaṅkaḥ prajñaptaḥ tadyathāpi nāma ṣaṇmāsajātasya dārakasya bhittīphalakaḥ| sa khalu puna ratnavyūho bodhisattvaparibhoga evaṁ varṇasaṁsthāno yasya na kaścit sadevake loke samārake sabrahmake sadṛśo'sti ākṛtyā vā varṇena vā| devāḥ khalvapi taṁ dṛṣṭvā āścaryaprāptā abhuvan| cakṣūṁṣi teṣāṁ vibhramanti sma| sa ca tathāgatasyāntika upanīto'tīva bhāsate tapati virocate sma| tadyathāpi nāma dvinirdhāntaṁ suvarṇaṁ kuśalena karmakāreṇa supariniṣṭhitamapagatakācadoṣam, evaṁ (tasmin samaye) sa kūṭāgāro virājate sma| tasmin khalu punarbodhisattvaparibhoge paryaṅkaḥ prajñapto yasya sadevake loke nāsti kaścit sadṛśo varṇena vā saṁsthānena vā anyatra kambugrīvāyā bodhisattvasya| yat khalu mahābrahmaṇā cīvaraṁ prāvṛtamabhūt, tattasya bodhisattvaparyaṅkasyāgrato na bhāsate sma tadyathāpi nāma vātavṛṣṭyābhihataḥ kṛṣṇakambalaḥ| sa khalu punaḥ kūṭāgāra uragasāracandanamayo yasyaikasuvarṇadharaṇī sāhasraṁ lokadhātuṁ mūlyaṁ kṣamate, tathāvidhenoragasāracandanena sa kūṭāgāraḥ samantādanupaliptaḥ| tādṛśa eva dvitīyaḥ kūṭāgāraḥ kṛto yastasmin prathame kūṭāgāre'bhyantarataḥ asakto'baddhasthitaḥ| tādṛśa eva tṛtīyo'pi kūṭāgāro yastasmin dvitīye kūṭāgāre'bhyantare'sakto'baddhasthitaḥ| sa ca paryaṅkastasmin gandhamaye tṛtīye kūṭāgāre vyavasthitaḥ saṁpraticchannaḥ| tasya khalu punaruragasāracandanasyaivaṁrūpo varṇaḥ tadyathāpi nāma abhijātasya nīlaivaḍūryasya| tasya khalu punargandhakūṭāgārasyopari samantādyāvanti kāniciddivyātikrāntāni puṣpāṇi santi, tāni sarvāṇi tasmin kūṭāgāre bodhisattvasya pūrvakuśalamūlavipākenānuprāptānyeva jāyante sma| sa khalu puna ratnavyūho bodhisattvaparibhogo dṛḍhasāro'bhedyo vajropamaḥ sparśena ca kācilindikasukhasaṁsparśaḥ| tasmin khalu puna ratnavyūhe bodhisattvaparibhoge ye kecit kāmāvacarāṇāṁ devānāṁ bhavanavyūhāste sarve tasmin saṁdṛśyante sma||
yāmeva ca rātriṁ bodhisattvo mātuḥ kukṣimavakrāntastāmeva rātrimadha āpaskandhamupādāya aṣṭaṣaṣṭiyojanaśatasahasrāṇi mahāpṛthivīṁ bhittvā yāvad brahmalokaṁ padmabhyudgatamabhūt| na ca kaścittaṁ padmaṁ paśyati sma anyatra sārathinarottamāddaśaśatasāhasrikācca mahābrahmaṇaḥ| yacceha trisāhasramahāsāhasralokadhātāvojo vā maṇḍo va raso vā, tatsarvaṁ tasmin mahāpadme madhubinduḥ saṁtiṣṭhate sma||
tamenaṁ mahābrahmā śubhe vaiḍūryabhājane prakṣipya bodhisattvasyopanāmayati sma| taṁ bodhisattvaḥ parigṛhya bhuṅkte sma mahābrahmaṇo'nukampāmupādāya| nāsti sa kaścit sattvaḥ sattvanikāye yasya sa ojobinduḥ paribhuktaḥ samyak sukhena pariṇāmedanyatra caramabhavikādbodhisattvāt sarvabodhisattvabhūmiparipūrṇāt| kasya ca karmaṇo vipākena sa ojobindurbodhisattvasyopatiṣṭhate sma? dīrgharātraṁ khalvapi bodhisattvena pūrvaṁ bodhisattvacaryāṁ caratā glānebhyaḥ sattvebhyo bhaiṣajyaṁ dattamāśatparāṇāṁ sattvānāmāśāḥ paripūritāḥ, śaraṇāgatāśca na parityaktāḥ, nityaṁ cāgrapuṣpamagraphalamagrarasaṁ tathāgatebhyastathāgatacaityebhyastathāgataśrāvakasaṁghebhyo mātāpitṛbhyaśca dattvā paścādātmanā paribhuktam| tasya karmaṇo vipākena mahābrahmā bodhisattvasya taṁ madhubindumupanāmayati sma||
tasmin khalu punaḥ kūṭāgāre yāni kānicit santyatikrāntātikrāntāni māyāguṇaratikrīḍāsamavasṛtasthānāni, tāni sarvāṇi tasmin prādurbhāvāni saṁdṛśyante sma bodhisattvasya pūrvakarmavipākena||
tasmin khalu puna ratnavyūhe bodhisattvaparibhoge śatasahasravyūhaṁ nāma vāsoyugaṁ prādurbhūtam| na sa kaścitsattvaḥ sattvanikāye saṁvidyate yasya tatprādurbhavedanyatra caramabhavikād bodhisattvāt| na ca te kecana udārodārā rūpaśabdagandharasasparśā ye tasmin kūṭāgāre na saṁdṛśyante sma| sacetkūṭāgāraparibhoga evaṁ suparibhoga evaṁ supariniṣpannaḥ sāntarabahirevaṁ supariniṣṭhita evaṁ mṛdukaśca| tadyathāpi nāma kācilindikasukhasaṁsparśo nidarśanamātreṇa, na tu tasyopamā saṁvidyate| dharmatā khalveṣā bodhisattvasya pūrvakeṇa ca praṇidhānena iyaṁ cetanā ṛddhāvavaśyaṁ bodhisattvena mahāsattvena manuṣyaloka upapattavyamabhiniṣkramya cānuttarāṁ samyaksaṁbodhimabhisaṁbudhya dharmacakraṁ pravartayitavyam| yasyā mātuḥ kukṣāvupapattirbhavati, tasyā dakṣiṇe kukṣāvādita eva ratnavyūhakūṭāgāro'bhinirvartate| paścādbodhisattvastuṣitebhyaścyuttvā tasmin kūṭāgāre paryaṅkaniṣaṇṇaḥ saṁbhavati| na hi caramabhavikasya bodhisattvasya kalalārbudaghanapeśībhāvaṁ kāyaḥ saṁtiṣṭhate sma| atha tarhi sarvāṅgapratyaṅgalakṣaṇasaṁpannaḥ saṁniṣaṇṇa eva prādurbhavati| svapnāntaragatā ca bodhisattvamātā māyādevī mahānāgakuñjaramavakrāntaṁ saṁjānīte sma||
tasya khalu punastathā niṣaṇṇasya śakro devānāmindraścatvāraśca mahārājāno'ṣṭāviṁśatiśca mahāyakṣasenāpatayo guhyakādhipatiśca nāma yakṣakulaṁ yato vajrapāṇerutpattiste bodhisattvaṁ mātuḥ kukṣigataṁ viditvā satataṁ samitamanubaddhā bhavanti sma| santi khalu punaścatasro bodhisattvaparicārakā devatāḥ-utkhalī ca nāma samutkhalī ca nāma dhvajavatī ca nāma prabhāvatī ca nāma| tā api bodhisattvaṁ mātuḥ kukṣigataṁ viditvā satataṁ samitaṁ rakṣanti sma| śakro'pi devānāmindraḥ sārdhaṁ pañcamātrairdevaputraśatairbodhisattvaṁ mātuḥ kukṣigataṁ jñātvā satataṁ samitamanubadhnāti sma||
bodhisattvasya khalu punarmātuḥ kukṣigatasya kāyastathāvidho'bhūt, tadyathāpi nāma parvatamūrdhani rātrāvandhakāratamisrāyāṁ mahānagniskandho yojanādapi dṛśyate sma, yāvat pañcabhyā yojanebhyo dṛśyate sma| evameva bodhisattvasya mātuḥ kukṣigatasyātmabhāvo'bhinirvṛtto'bhūt prabhāsvaro'bhirūpaḥ prāsādiko darśanīyaḥ| sa tasmin kūṭāgāre paryaṅkaniṣaṇṇo'tīva śobhate sma| vaiḍūryapratyuptamivābhijātaṁ jātarūpam| bodhisattvasya mātā ca nidhyāya sthitā paśyati sma kukṣigataṁ bodhisattvam| tadyathāpi nāma mahato'bhrakūṭādvidyuto niḥsṛtya mahāntamavabhāsaṁ saṁjanayanti, evameva bodhisattvo mātuḥ kukṣigataḥ śriyā tejasā varṇena ca taṁ prathamaṁ ratnakūṭāgāramavabhāsayati sma| avabhāsya dvitīyaṁ gandhakūṭāgāramavabhāsayati sma| dvitīyaṁ gandhakūṭāgāramavabhāsya tṛtīyaṁ ratnakūṭāgāramavabhāsayati sma| tṛtīyaṁ ratnakūṭāgāramavabhāsya sarvāvantaṁ māturātmabhāvamavabhāsayati sma| tamavabhāsya yatra cāsane niṣaṇṇo bhavati sma tadavabhāsayati sma| tadavabhāsya sarvaṁ gṛhamavabhāsayati sma| sarvaṁ gṛhamavabhāsya gṛhasyopariṣṭānniḥsṛtya pūrvāṁ diśamavabhāsayati sma| evaṁ dakṣiṇāṁ paścimāṁ uttarāmadha ūrdhvaṁ samantāddaśadiśaḥ krośamātramekaikasyāṁ diśi mātuḥ kukṣigato bodhisattvaḥ śriyā tejasā varṇena cāvabhāsayati sma||
āgacchanti sma khalu punarbhikṣavaścatvāro mahārājāno'ṣṭāviṁśacca mahāyakṣasenāpatayaḥ sārdhaṁ pañcamātrayakṣaśataiḥ pūrvāhṇakālasamaye bodhisattvasya darśanāya vandanāya paryupāsanāya dharmaśravaṇāya ca| tadā bodhisattvastānāgatān viditvā dakṣiṇaṁ pāṇimabhyutkṣipya ekāṅgulikayā āsanānyupadarśayati sma| niṣīdanti sma te lokapālādayo yathāprajñapteṣvāsaneṣu| paśyanti sma bodhisattvaṁ mātuḥ kukṣigataṁ jātarūpamiva vigrahaṁ hastaṁ cālayantaṁ vicālayantam utkṣipantaṁ pratiṣṭhāpayantam| te prītiprāmodyaprasādapratilabdhā bodhisattvaṁ namaskurvanti sma| niṣaṇṇāṁśca tān viditvā bodhisattvo dharmyayā kathayā saṁdarśayati sma samādāpayati sma samuttejayati sma saṁpraharṣayati sma| yadā ca prakramitukāmā bhavanti tadā bodhisattvasteṣāṁ cetasaiva vicintitaṁ vijñāya dakṣiṇaṁ pāṇimutkṣipya saṁcārayati sma| saṁcārya vicārayati sma| mātaraṁ ca na bādhate sma| tadā teṣāṁ caturṇāṁ mahārājānāmevaṁ bhavati sma-visarjitāḥ sma vayaṁ bodhisattveneti| te bodhisattvaṁ bodhisattvamātaraṁ ca tripradakṣiṇīkṛtya prakrāmanti sma| ayaṁ heturayaṁ pratyayo yadbodhisattvo rātryāṁ praśāntāyāṁ dakṣiṇaṁ pāṇiṁ saṁcārya vicārayati sma| vicārya punarapi smṛtaḥ saṁprajānaṁstaṁ pāṇiṁ pratiṣṭhāpayati sma| punaraparaṁ yadā bodhisattvasya keciddarśanāyāgacchanti sma striyo vā puruṣo vā dārako vā dārikā vā, tān bodhisattvaḥ pūrvatarameva pratisaṁmodayate sma, paścādbodhisattvasya mātā||
iti hi bhikṣavo bodhisattvo mātuḥ kukṣigataḥ san sattvān pratisaṁmodanakuśalo bhavati smeti| na ca kaściddevo vā nāgo vā yakṣo vā manuṣyo vā amanuṣyo vā yaḥ śaknoti sma bodhisattvaṁ pūrvataraṁ pratisaṁmoditum| atha tarhi bodhisattva eva tāvat pūrvataraṁ pratisaṁmodate sma, paścādbodhisattvamātā||
nirgate khalu punaḥ pūrvāhṇakālasamaye madhyāhnakālasamaye pratyupasthite atha khalu śakro devānāmindro niṣkrāntaḥ| abhiniṣkrāntāśca trāyatriṁśaddevaputrā bodhisattvasya darśanāya vandanāya paryupāsanāya| dharmaśravaṇāya cāgacchanti sma| tāṁśca bodhisattvo dūrata evāgacchato dṛṣṭvā dakṣiṇaṁ suvarṇavarṇaṁ bāhuṁ prasārya śakraṁ devānāmindraṁ devāṁśca trāyatriṁśān pratisaṁmodate sma| ekāṅgulikayā cāsanānyupadarśayati sma| na ca śaknoti sma bhikṣavaḥ śakro devānāmindro bodhisattvasyājñāṁ pratiroddhum| niṣīdati sma śakro devānāmindrastadanye ca devaputrā yathāprajñapteṣvāsaneṣu| tān bodhisattvo niṣaṇṇān viditvā dharmyayā kathayā saṁdarśayati sma samādāpayati sma samuttejayati sma saṁpraharṣayati sma| yena ca bodhisattvaḥ pāṇiṁ saṁcārayati sma, tanmukhā bodhisattvamātā bhavati sma| tatasteṣāmevaṁ bhavati sma-asmābhiḥ sārdhaṁ bodhisattvaḥ saṁmodate sma| ekaikaścaivaṁ saṁjānīte sma-mayaiva sārdhaṁ bodhisattvaḥ saṁlapati, māmeva pratisaṁmodate sma iti||
tasmin khalu punaḥ kūṭāgāre śakrasya devānāmindrasya trāyatriṁśānāṁ devānāṁ ca pratibhāsaḥ saṁdṛśyate sma| na khalu punaranyatraivaṁ pariśuddho bodhisattvaparibhogo bhavati yathā mātuḥ kukṣigatasya bodhisattvasya| yadā ca bhikṣavaḥ śakro devānāmindrastadanye ca devaputrāḥ prakramitukāmā bhavanti sma, tadā bodhisattvasteṣāṁ cetasaiva cetaḥparivitarkamājñāya dakṣiṇaṁ pāṇimutkṣipya saṁcārayanti sma| saṁcārya vicārya punarapi smṛtaḥ saṁprajānan pratiṣṭhāpayati sma| mātaraṁ ca na bādhate sma| tadā śakrasya devānāmindrasyānyeṣāṁ ca trāyatriṁśānāṁ devānāmevaṁ bhavati sma-visarjitā vayaṁ bodhisattveneti| te bodhisattvaṁ bodhisattvamātaraṁ ca tripradakṣiṇīkṛtya prakrāmanti sma||
nirgate ca khalu punarbhikṣavo madhyāhnakālasamaye sāyāhnakālasamaye pratyupasthite atha khalu brahmā sahāpatiranekairbrahmakāyikairdevaputraśatasahasraiḥ parivṛtaḥ puraskṛtastaṁ divyamojobindumādāya yena bodhisattvastenopasaṁkrāmati sma bodhisattvaṁ draṣṭuṁ vandituṁ paryupāsituṁ dharmaṁ ca śrotum| samanvāharati sma bhikṣavaḥ bodhisattvo brahmāṇaṁ sahāpatimāgacchantaṁ saparivāram| punareva ca bodhisattvo dakṣiṇaṁ suvarṇavarṇapāṇimutkṣipya brahmāṇaṁ sahāpatiṁ brahmakāyikāṁśca devaputrān pratisaṁmodate sma| ekāṅgulikayā cāsanānyupadarśayati sma| na ca śaktirasti bhikṣavo brahmaṇaḥ sahāpaterbodhisattvasyājñāṁ pratiroddhum| niṣīdati sma bhikṣavo brahmā sahāpatistadanye ca brahmakāyikā devaputrā yathāprajñapteṣvāsaneṣu| tān bodhisattvo niṣaṇṇān viditvā dharmyayā kathayā saṁdarśayati sma samādāpayati sma samuttejayati sma saṁpraharṣayati sma| yena ca bodhisattvaḥ pāṇiṁ saṁcārayati sma, tanmukhaiva māyādevī bhavati sma| tatasteṣāmekaikasyaivaṁ bhavati sma-mayā sārdhaṁ bodhisattvaḥ saṁlapati, māmeva pratisaṁmodate sma iti| yadā ca brahmā sahāpatistadanye ca brahmakāyikā devaputrā gantukāmā bhavanti sma, tadā bodhisattvasteṣāṁ cetasaiva cetaḥparivitarkamājñāya dakṣiṇaṁ suvarṇavarṇaṁ bāhumutkṣipya saṁcārayati sma| saṁcārya vicārayati sma| saṁcārya vicārya avasādatākāreṇa pāṇiṁ saṁcārayati sma| mātaraṁ ca na bādhate sma| tato brahmaṇaḥ sahāpatestadanyeṣāṁ ca brahmakāyikānāṁ devaputrāṇāmevaṁ bhavati sma-visarjitā vayaṁ bodhisattveneti| te bodhisattvaṁ bodhisattvamātaraṁ ca tripradakṣiṇīkṛtya punareva prakrāmanti sma| bodhisattvaśca smṛtaḥ saṁprajānan pāṇiṁ pratiṣṭhāpayati sma||
āgacchanti sma khalu punarbhikṣavaḥ pūrvadakṣiṇapaścimottarābhyo digbhyo'dhastādupariṣṭāt santāddaśabhyo digbhyo bahūni bodhisattvaśatasahasrāṇi bodhisattvasya darśanāya vandanāya paryupāsanāya dharmaśravaṇāya ca dharmasaṁgītisaṁgāyanāya ca| teṣāmāgatāgatānāṁ bodhisattvaḥ kāyāt prabhāmutsṛjya prabhāvyūhāni siṁhāsanānyabhinirmimīte sma| abhinirmāya tān bodhisattvāṁsteṣvāsaneṣu niṣīdayati sma| niṣaṇṇāṁścainān viditvā paripṛcchati sma paripraśnayati sma yadutāsyaiva bodhisattvasya mahāyānasya vistaravibhāgatāmupādāya| na ca tān kaścidanyaḥ paśyati sma anyatra sabhāgebhyo devaputrebhyaḥ| ayaṁ bhikṣavo heturayaṁ pratyayo yena bodhisattvaḥ praśāntāyāṁ rātryāṁ kāyāt prabhāmutsṛjati sma||
na khalu punarbhikṣavo māyādevī bodhisattvakukṣigate gurukāyatāṁ saṁjānīte sma anyatra laghutāmeva mṛdutāmeva saukhyatāmeva| na codaragatāni duḥkhāni pratyanubhavati sma| na ca rāgaparidāhena vā dveṣaparidāhena vā mohaparidāhena vā paridahyate sma| na ca kāmavitarkaṁ vā vyāpādavitarkaṁ vā vihiṁsāvitarkaṁ vā vitarkayati sma| na ca śītaṁ na coṣṇaṁ vā jighatsāṁ vā pipāsāṁ vā tamo vā rajo vā kleśaṁ vā saṁjānīte sma paśyati vā| na cāsyā amanāpā rūpaśabdagandharasasparśā vā ābhāsamāgacchanti sma| na ca pāpakān svapnān paśyati sma| na cāsyāḥ strīmāyā na śāṭhyaṁ nerṣyā na strīkleśā bādhante sma| pañcaśikṣāpadasamādattā khalu punaḥ śīlavatī daśakuśalakarmapathe pratiṣṭhitā tasmin samaye bodhisattvamātā bhavati sma| na ca bodhisattvamātuḥ kvacit puruṣe rāgacittamutpadyate sma, nāpi kasyacitpuruṣasya bodhisattvasya māturantike| ye ca kecitkapilāhvaye mahāpuravare anyeṣu vā janapadeṣu devanāgayakṣagandharvāsuragaruḍabhūtāviṣṭāḥ strīpuruṣadārakadārikā vā, te sarve bodhisattvamātuḥ sahadarśanādeva svasthāḥ smṛtipratilabdhā bhavanti sma| te cāmanuṣyāḥ kṣiprameva prakrāmanti sma| ye ca kecinnānārogaspṛṣṭāḥ sattvā bhavanti sma, vātapittaśleṣmasaṁnipātajai rogaiḥ pīḍyante sma, cakṣurogeṇa vā śrotrarogeṇa vā ghrāṇarogeṇa vā jihvārogeṇa vā oṣṭharogeṇa vā dantarogeṇa kaṇṭharogeṇa vā galagaṇḍarogeṇa vā uragaṇḍakuṣṭhakilāsaśoṣonmādāpasmārajvaragalagaṇḍapiṭakavisarpavicarcikādyai rogaiḥ saṁpīḍyante sma, teṣāṁ bodhisattvamātā dakṣiṇapāṇiṁ mūrdhni pratiṣṭhāpayati sma| te sahapratiṣṭhāpite pāṇau vigatavyādhayo bhūtvā svakasvakāni gṛhāṇi gacchanti sma| antato māyādevī tṛṇagulmakamapi dharaṇitalādabhyutkṣipya glānebhyaḥ sattvebhyo'nuprayacchati sma| te sahapratilambhādaroganirvikārā bhavanti sma| yadā ca māyādevī svaṁ dakṣiṇaṁ pārśvaṁ pratyavekṣate sma, tadā paśyati sma bodhisattvaṁ kukṣigatam, tadyathāpi nāma supariśuddha ādarśamaṇḍale mukhamaṇḍalaṁ dṛśyate| dṛṣṭvā ca punastuṣṭā udagrā āttamanā pramuditā prītisaumanasyajātā bhavati sma||
bodhisattvasya khalu punarbhikṣavo mātuḥ kukṣigatasyādhiṣṭhitaṁ satataṁ samitaṁ rātriṁdivaṁ divyāni tūryāṇi abhi(nirmāya) pranadanti sma| divyāni ca puṣpāṇi abhipravarṣanti sma| kālena devā varṣanti sma| kālena vāyavo vānti sma| kālena ṛtavo nakṣatrāṇi ca parivartante sma| kṣemaṁ ca rājyaṁ subhikṣaṁ ca sumanākulamanubhavati sma| sarve ca kapilāhvaye mahāpuravare śākyā anye ca sattvāḥ khādanti sma, pibanti sma, (ramante sma,) krīḍanti sma, pravicārayanti sma, dānāni ca dadanti sma, puṇyāni ca kurvanti sma, kaumodyāmiva cāturmāsyāmekāntare krīḍāsukhavihārairviharanti sma| rājāpi śuddhodanaḥ saṁprāptabrahmacaryoparatarāṣṭrakāryo'pi supariśuddhastapovanagata iva dharmamevānuvartate sma||
evaṁrūpeṇa bhikṣava ṛddhiprātihāryeṇa samanvāgato bodhisattvo mātuḥ kukṣigato'sthāt| tatra khalu bhagavānāyuṣmantamānandamāmantrayate sma-drakṣyasi tvamānanda ratnavyūhaṁ bodhisattvaparibhogaṁ yatra bodhisattvo mātuḥ kukṣigato vyāhārṣīt| āha-paśyeyaṁ bhagavan paśyeyaṁ sugata| darśayati sma tathāgata āyuṣmata ānandasya śakrasya devānāmindrasya caturṇāṁ ca lokapālānāṁ tadanyeṣāṁ ca devamanuṣyāṇām| dṛṣṭvā ca te tuṣṭā abhūvan udagrā āttamanasaḥ pramuditāḥ prītisaumanasyajātāḥ| sa ca brahmā sahāpatiḥ punareva brahmaloke samāropya pratiṣṭhāpayati sma caityārtham||
tatra khalu bhagavān punarapi bhikṣūnāmantrayate sma-iti hi bhikṣavo daśamāsakukṣigatena bodhisattvena ṣaṭtriṁśannayutāni devamanuṣyāṇāṁ triṣu yāneṣu paripācitānyabhūvan| yatredamucyate yat—
bodhisattva agrasattva mātukukṣisaṁsthitaḥ
prakampitā ca ṣaḍvikāra medinī sakānanā|
suvarṇavarṇa ābha mukta sarvāpāya śodhitā
praharṣitāśca devasaṁgha dharmagañju bheṣyate||23||
suṁsaṁsthito mahāvimānu naikaratnacitrito
yatra vīru āruhitva tiṣṭhate vināyakaḥ|
gandhottamena candanena pūrito virocate
yasyaikakarṣu trisahasramūlyaratnapūrito||24||
mahāsahasralokadhātu heṣvi bhindiyitvanā
udāgato guṇākarasya padmaojabinduko|
so saptarātra puṇyateja brahmaloki udgato
gṛhītva brahma ojabindu bodhisattva nāmayī||25||
na asti sarvasattvakāyi bhuktu yo jareya taṁ
anyatra bhūri bodhisattva brahmakalpasaṁnibhe|
anekakalpa puṇyateja ojabindu saṁsthito
bhujitva sattva kāyacitta jñānaśuddha gacchiṣu||26||
śakra brahma lokapāla pūjanāya nāyakaṁ
trīṇi kāla āgamitva bodhisattvamantikam|
vandayitva pūjayitva dharma śṛṇute varaṁ
pradakṣiṇaṁ karitva sarva gacchiṣū yathāgatā||27||
bodhisattva dharmakāma enti lokadhātuṣu
prabhāviyūha āsaneṣu te niṣaṇṇa dṛśyiṣu|
parasparaṁ ca śrutva dharma yānaśreṣṭhamuttamaṁ
prayānti sarvi hṛṣṭacitta varṇamāla bhāṣato||28||
ye ca iṣṭidārakāsu duḥkhitā tadā abhūt
bhūtaspṛṣṭa kṣiptacitta nagna pāṁśumrakṣitā|
te ca sarva dṛṣṭva māya bhonti labdhacetanā
smṛtīmatīgatīupeta gehi gehi gacchiṣu||29||
vātato va pittato va śleṣmasaṁnipātakaiḥ
ye ca cakṣuroga śrotraroga kāyacittapīḍitā|
naikarūpa naikajāti vyādhibhiśca ye hatā
sthāpite sma māya mūrdhni pāṇi bhonti nirjarā||30||
athāpi vā tṛṇasya tūli bhūmito gṛhītvanā
dadāti māya āturāṇa sarvi bhonti nirjarā|
saukhyaprāpti nirvikāra gehi gehi gacchiṣu
bhaiṣajyabhūti vaidyarāji kukṣisaṁpratiṣṭhite||31||
yasmi kāli māyadevi svātanuṁ nirīkṣate
adṛśāti bodhisattva kukṣiye pratiṣṭhitam|
yathaiva candra antarīkṣa tārakai parīvṛtaṁ
tathaiva nāthu bodhisattvalakṣaṇairalaṁkṛtam||32||
no ca tasya rāga doṣa naiva moha bādhate
kāmachandu naiva tasya īrṣi naiva hiṁsitā|
tuṣṭacitta hṛṣṭacitta prīti saumanasthitā
kṣudhāpipāsa śīta uṣṇa naiva tasya bādhate||33||
aghaṭṭitāśca nityakāla divyatūrya vādiṣu
pravarṣayanti divyapuṣpa gandhaśreṣṭha śobhanā|
deva paśyi mānuṣāśca mānuṣā amānuṣāṁ
no viheṭhi no vihiṁsi tatra te parasyaram||34||
ramanti sattva krīḍayanti annapānudenti ca
ānandaśabda ghoṣayanti hṛṣṭatuṣṭamānasāḥ||
kṣamā rajoanākulā ca kāli deva varṣate
tṛṇāśca puṣpa oṣadhīya tasmi kāli rohiṣu||35||
rājagehi saptarātra ratnavarṣa varṣito
yato daridrasattva gṛhya dāna denti bhuñjate|
nāsti sattva yo daridra yo ca āsi duḥkhito
bherumūrdhni nandaneva eva sattva nandiṣu||36||
so ca rāju śākiyāna poṣadhī upoṣito
rājyakāryu no karoti dharmameva gocarī|
tapovanaṁ ca so praviṣṭa māyādevī pṛcchate
kīdṛśenti kāyi saukhya agrasattva dhārati||37||
iti śrīlalitavistare garbhāvakrāntiparivarto nāma ṣaṣṭhamo'dhyāyaḥ||

S. Kalyanaraman
Sarasvati Research Center
July 5, 2015

Reading mlecchita vikalpa all components of a hieroglyph multiplex text on Sanchi reliefs: khār 'blacksmith'...

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Mirror: http://tinyurl.com/pnpf5co

mlecchita vikalpa is meluhha cipher of Indus Script Corpora.This writing system finds expredssion on hieroglyph multiplex texts in ancient traditions of Indian sprachbund (language speech union).
ErmineSpot.jpgHoof of an equus genus (one toe per foot protected by a strong hoof).

In identifying the animal parts in the hieroglyphmultiplex of elephant with stalks as horns on a Sanchi relief, the hindpart of the hieroglyphmultiplex shows a penis and uncloven hoofs which make it a wild ass. This note identifies this body part as khara Equus hemionus, 'Indian wild ass' which roams the Great Indian Thar desert and Rann of Kutch. The error was recorded at http://bharatkalyan97.blogspot.in/2015/07/koliya-iron-smelters-mayas-dream-karaba.html


Hieroglyphmultiplextext of stalks as horns is displayed on a frieze of Sanchi with an elephant ligatured to the body of a wild-ass:

खरोष्टी [p= 337,3] f. a kind of written character or alphabet Lalit. x , 29; °रोट्ठि Jain. (Monier-Williams) I suggest that this gloss is derived from khār + ओष्ठ [p= 236,1]; that is, rebus: khār 'blacksmith' PLUS 'lip' which is metonymy for blacksmith speech.

ओष्ठ m. (etym. doubtful ; √उष् Un2. ii , 4) the lip (generally du.RV. ii , 39 , 6 AV. x , 9 , 14 ; xx , 127 , 4 VS.S3Br. Mn. &c; ओष्ठी [p= 236,2] f. (in a compound the  of ओष्ठ forms with a preceding  either वृद्धि  , or गुण  Ka1ty. onPa1n2. 6-1 , 94) ; ([cf. Zd. aoshtra ; O. Pruss. austa , " mouth " ; O. Slav. usta , " mouth. "])

Hieroglyph multiplex: Sanchi stupa. railing. 2nd cent. BCE. Hieroglyphs are: elephant (face, trunk), wild-ass, onager (body), safflower, leafless stalks as horns

Hieroglyphs:
With  karaṇḍā 'stalks' as koD 'horns' and artisans (carrying goads or weapons or काण्डी kANDI 'little stalk or stem') hieroglyph components added as signifiers on the frieze:


sangaḍi = joined animals (Marathi) [In this hieorglyphmultiplex, body of a bull is joined to the face and trunk of an elephant and hindpart of a wildass]

Rebus: saMghAta 'caravan (guild)'

khara 'wild ass, onager' rebus: khar 'blacksmith' (Kashmiri)

barad, barat, 'bull' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi) bharana id. (Bengali)
करडी [ karaḍī ] f (See करडई) Safflower Rebus: खरडा [ kharaḍā ] scribbling, engraving Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c. PLUS kolmo 'three' Rebus: kolimi 'smithy, forge'. 
kara ‘elephant’s trunk’ rebus: khar ‘blacksmith’ PLUS ibha 'elephant' Rebus: ibbo 'merchant' Pronounced together: (kar+ibbha) karb ‘iron’ (See: Tulu. ajirda karba very hard iron; karba iron.)
Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: khāṇḍā 'tools, pots and pans, metal-ware'. ayaskāṇḍa 'a quantity of iron, excellent iron'


Read together: karaḍā khāṇḍā bharat ibbo saMghAta kolimi Hard alloy, mixed alloy (copper+zinc+tin) smithy, forge blacksmith artisan-merchant-scribe OR metalcaster-engraver caravan (guild).


Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: khāṇḍā 'tools, pots and pans, metal-ware'. ayaskāṇḍa 'a quantity of iron, excellent iron'.  http://bharatkalyan97.blogspot.com/2015/07/proving-validity-of-deciherment-of.html

करडी [ karaḍī ] f (See करडई) Safflower Rebus: खरडा [ kharaḍā ] scribbling, engraving Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c. PLUS kolmo 'three' Rebus: kolimi 'smithy, forge'. 
kara ‘elephant’s trunk’ rebus: khar ‘blacksmith’ PLUS ibha 'elephant' Rebus: ibbo 'merchant' Pronounced together: (kar+ibbha) karb ‘iron’ (See: Tulu. ajirda karba very hard iron; karba iron.)
Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: khāṇḍā 'tools, pots and pans, metal-ware'. ayaskāṇḍa 'a quantity of iron, excellent iron'

Read together: karaḍā khāṇḍā khar ibbo saMghAta kolimi Hard alloy, mixed alloy (copper+zinc+tin) smithy, forge blacksmith artisan-merchant-scribe OR metalcaster-engraver caravan (guild).


*kharapāla ʻ donkey -- driver ʼ. [khara -- 1, pālá -- ]Paš. kharwāl. (CDIAL 3822) khara1 m. ʻ donkey ʼ KātyŚr., °rī -- f. Pāṇ.NiDoc. Pk. khara -- m., Gy. pal. ḳăr m., kắri f., arm. xari, eur. gr. kherkfer, rum. xerú, Kt. kur, Pr. korūˊ, Dm. khar m., °ri f., Tir. kh*lr, Paš. lauṛ. kharm., khär f., Kal. urt. khār, Phal. khār m., khári f., K. khar m., khürü f., pog. kash. ḍoḍ. khar, S. kharu m., P. G. M. khar m., OM. khari f.; -- ext. Ash.kərəṭék, Shum. xareṭá; <-> L. kharkā m., °kī f. -- Kho. khairánu ʻ donkey's foal ʼ (+?).*kharapāla -- ; -- *kharabhaka -- .Addenda: khara -- 1: Bshk. Kt. kur ʻ donkey ʼ (for loss of aspiration Morgenstierne ID 334).(CDIAL 3818)*kharatara -- ʻ mule ʼ. [khara -- 1: cf. Ir. *xaratara -- in Khot. khaḍara ʻ mule ʼ H. W. Bailey BSOAS x 590 and letter 14.9.79, Sogd. gatark Benveniste Textes sogdiens 179 (→ Turk. qatir → Oss.dig. qadir). See Type aśvatará -- in New Indo -- aryan R. L. Turner in ColPa 419ff.](CDIAL 3820a)


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

The assumption is that the hindpart of the body shows an Asinus a subgenus of Equus (single-toed (hooved) grazing animal). That is, the toe or hoof is uncloven in the case of equus genus.

The assumption is that the frontpart of the body of the animal has cloven hoofs. cloven hoof is a hoof split into two toes. This is found on members of the mammalian order Artiodactyla. Examples of mammals that possess this type of hoof are cattle, deer, goats, and sheep.
The rear foot of a GiraffeThe rear foot of a giraffe.


There is a village named Kharaghoda in Surendranagar District of Gujarat. This Kharaghoda provides access to Great Rann of Kutch is a salt marsh located in the Thar Desert in the Kutch District of Gujarat, India and the Sindh province of Pakistan. .The region together with the Little Rann of Kutch and the Banni grasslands on its southern edge lies between the Gulf of Kutch and the mouth of the Indus River in southern Pakistan. (Negi, S.S. (1996). Biosphere reserves in India : landuse, biodiversity and conservation. New Delhi: Indus Pub. Co).

Khara + ghoda (lit. wild ass + horse).

Kiang in Hellabrunn.jpgkiang
Closely related to the onager (Equus hemionus) is kiang (Equus kiang) is the largest of the wild asses. It is native to the Tibetan Plateau, where it inhabits montane and alpine grasslands. (https://en.wikipedia.org/wiki/Kiang) Kiangs are found on the Tibetan plateau, between the Himalayas in the south and the Kunlun Mountains in the north. This restricts them almost entirely to China, but small numbers are found across the borders in the Ladakh and Sikkim regions of India, and along the northern frontier of Nepal. (Shah, N. (2002). Moehlman, P.D., ed. Equids: zebras, asses and horses. Status survey and conservation action plan. Gland, Switzerland: IUCN. pp. 72–81.)
Asiatic Wild Ass.jpegIndividual from Odu-Khari in the Little Rann of Kutch
Rostov-on-Don Zoo Persian onager IMG 5268 1725.jpgA Persian onager (Equus hemionus onager) at Rostov-on-Don Zoo, Russia.
A Persian onager in Augsburg Zoo.
Indian onager  Little Rann of KutchGujaratIndia.

"The onager, also known as hemione or Asiatic wild ass[2] (Equus hemionus) is a large member of the genus Equus of the family Equidae (horse family) native to the deserts and other arid regions of Iran, Pakistan, India and Mongolia, including in cold regions of Kazakhstan, Uzbekistan and Turkmenistan...The specific name is Ancient Greek ἡμίονος (hēmíonos), from ἡμι- (hēmi-), half, and ὄνος (ónos), donkey; thus, half-donkey or mule. In Persian the archaic word gur preserves the second syllable of the common Indo-European term that includes ona/ono (donkey) and ger/gur (swift)...The kiang (E. kiang), a Tibetan relative, was previously considered to be a subspecies of the onager as E. hemionus kiang, but recent molecular studies indicate that it is a distinct species." (https://en.wikipedia.org/wiki/Onager)

The gloss 'khara' is relatable to the metal/weapon characteristics of temper and hardness achieved by alloying, in the following glosses:


Ta. karaṭu roughness, unevenness, churlish temper; karaṭṭu rugged, uneven, unpolished; karaṇ uneven surface in vegetables and fruits, scar; karuprong, barb, spike; karumai, karil severity, cruelty; karukku teeth of a saw or sickle, jagged edge of palmyra leaf-stalk, sharpness. Ma. karaṭu what is rough oruneven; kaṟu rough; kaṟuppu roughness; karuma sharpness of sword; karukku teeth of a saw or file, thorns of a palmyra branch, irregular surface; karukarukka to be harsh, sharp, rough, irritating; karikku edge of teeth; kari-muḷ hard thorn; projecting parts of the skin of custard-apples, jack-fruits, etc.; kari-maṭal rind of jack-fruits. Ko. karp keenness or harshness (of wind); ? kako·ṭ hoe with sharp, broad blade (for -ko·ṭ, see 2064). Ka.karaḍu that is rough, uneven, unpolished, hard, or waste, useless, or wicked; kaṟaku, karku, kakku, gaṟaku, garaku, garku, garasu a jag, notch, dent, toothed part of a file or saw, rough part of a millstone, irregular surface, sharpness. Tu. karaḍů, karaḍu rough, coarse, worn out; wastage, loss, wear;kargōṭa hardness, hard-heartedness; hard, hard hearted; garu rough; 

garime severity, strictness; gargāsů a saw. Te. kara sharp; karagasamu a saw;karakasa roughness; karusu rough, harsh; harsh words; kaṟaku, kaṟuku harshness, roughness, sharpness; rough, harsh, sharp; gari hardness, stiffness, sharpness; (B.) karaṭi stubborn, brutish, villainous; kakku a notch or dent, toothed part of a saw, file, or sickle, roughness of a millstone. Go. (Ma.)karkara sharp (Voc. 543). Kur. karcnā to be tough, (Hahn) be hardened. ? Cf. 1260 Ka. garasu. / Cf. Skt. karaṭa- a low, unruly, difficult person;karkara- hard, firm; karkaśa- rough, harsh, hard; krakaca-, karapattra- saw; khara- hard, harsh, rough, sharp-edged; kharu- harsh, cruel; Palikakaca- saw; khara- rough; saw; Pkt. karakaya- saw; Apabhraṃśa (Jasaharacariu) karaḍa- hard. Cf. esp. Turner, CDIAL, no. 2819. Cf. also Skt.karavāla- sword (for second element, cf. 5376 Ta. vāḷ).(CDIAL 1265)

bandūka-khār ब&above;न्दूक-खार् । अग्निप्रक्षेपयन्त्रकारुः m. a gun-maker.bạstūru ब&above;स्तूरु&below; । चर्ममयप्रसेवः m. a skin sack or bag for carrying paddy, etc., of the contents of about a khār (say 15 lb.)



Detail of the top of the sandstone Vedica pillar, half-roundel at top of vedika pillar with composite creatures in relief.


The top register o this relief shows ligatured antelopes back-to-back; the next register from the top shows a bull ligatured to a makara (crocodile with curved fish tail).

Hieroglyph: Tor. miṇḍ 'ram', miṇḍāl 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) 

The two antelopes joined back-to-back: pusht ‘back’; rebus: pusht ‘ancestor’. pus̱ẖt bah pus̱ẖt ‘generation to generation.’ The ram could also be denoted by ṭagara ‘antelope’; takar, n. [தகர் T. tagaru, K. tagar.] 1. Sheep; ஆட்டின்பொது. (திவா.) 2. Ram; செம் மறியாட்டுக்கடா. (திவா.) பொருநகர் தாக்கற்குப் பேருந் தகைத்து (குறள், 486).  Rebus: ṭagara ‘tin’. dula ‘pair’ (Kashmiri); rebus: dul  'cast metal’ (Munda). Thus the pair of antelopes on the top register denotes: tin smith artisan, dul ṭagara  'cast tin'.


sangaḍi = joined animals (Marathi) [In this hieorglyphmultiplex, body of a bull (zebu?) is joined to a fish-tail of a makara (crocodile)]

Rebus: saMghAta 'caravan (guild)'

xolA 'tail' Rebus: kol 'working in iron'; kolle 'blacksmith'; kolhe 'smelter'; kole.l 'smithy, temple'

The crocodile ligatured to the bull is: kāru ‘crocodile’ Rebus: khar ‘blacksmith’ (Kashmiri) 

The bull is:  ḍangar 'bull' Rebus: dhangar blacksmith (Maithili)angar blacksmith (Hindi)


Interpreting the bull as a zebu: Hieroglyph: pola 'zebu, bos indicus'; rebus: pola 'magnetite ore'



áyas n. ʻ metal, iron ʼ RV.Pa. ayō nom. sg. n. and m., aya -- n. ʻ iron ʼ, Pk. aya -- n., Si. ya.Md. da ʻ iron ʼ, dafat ʻ piece of iron ʼ.(CDIAL 590) ayaskāṇḍa m.n. ʻ a quantity of iron, excellent iron ʼ Pāṇ. gaṇ. [áyas -- , kāˊṇḍa -- ]Si. yakaḍa ʻ iron ʼ.(CDIAL 591) அயம்; ayam
 , n. < ayas. 1. Iron; இரும்பு. (பிங்.) 2. Iron filings; அரப்பொடி. (தைலவ. தைல. 6.) 
 Ayo & Aya (nt.) [Sk. ayaḥ nt. iron & ore, Idg. *ajes -- , cp. Av. ayah, Lat. aes, Goth. aiz, Ohg. ēr (= Ger. Erz.), Ags. ār (= E. ore).] iron. The nom. ayofound only in set of 5 metals forming an alloy of gold (jātarūpa), viz. ayo, loha (copper), tipu (tin), sīsa (lead), sajjha (silver) A iii.16 = S v.92; of obl. cases only the instr. ayasā occurs Dh 240 (= ayato DhA iii.344); Pv i.1013 (paṭikujjita, of Niraya). -- Iron is the material used kat)e)coxh/n in the outfit & construction of Purgatory or Niraya (see niraya & Avīci & cp. Vism 56 sq.). -- In compn. both ayo˚ & aya˚ occur as bases.
  I. ayo˚: -- kapāla an iron pot A iv.70 (v. l. ˚guhala); Nd2 304 iii. d 2 (of Niraya). -- kūṭa an iron hammer PvA 284. -- khīla an iron stake S v.444; Miii.183 = Nd2 304 iii. c; SnA 479. -- guḷa an iron ball S v.283; Dh 308; It 43 = 90; Th 2, 489; DA i.84. -- ghana an iron club Ud 93; VvA 20. -- gharaan iron house J iv.492. -- paṭala an iron roof or ceiling (of Niraya) PvA 52. -- pākāra an iron fence Pv i.1013 = Nd2 304 iii. d 1. -- maya made of iron Sn 669 (kūṭa); J iv.492 (nāvā); Pv i.1014 (bhūmi of N.); PvA 43, 52. -- muggara an iron club PvA 55. -- sanku an iron spike S iv.168; Sn 667.   II. aya˚: -- kapāla = ayo˚ DhA i.148 (v. l. ayo˚). -kāra a worker in iron Miln 331. -- kūṭa = ayo˚ J i.108; DhA ii.69 (v. l.). -- nangala an iron plough DhA i.223; iii.67. -- paṭṭaka an iron plate or sheet (cp. loha˚) J v.359. -- paṭhavi an iron floor (of Avīci) DhA i.148. -- sanghāṭaka an iron (door) post DhA iv.104. -- sūla an iron stake Sn 667; DhA i.148.(Pali)


ayo 'fish' aya 'metal' PLUS karA 'gharial' khar 'blacksmith'. ayakara 'metalsmith'.
m0482A One side of a two-sided tablet  m1429C One side of a prism tablet. ayo ‘fish’ (Mu.); rebus: aya ‘(alloyed) metal’ (G.) kāru  a wild crocodile or alligator (Te.) Rebus:khār  a blacksmith, an iron worker (cf. bandūka-khār) (Kashmiri) 
Combined rebus reading: ayakāra ‘iron-smith’ (Pali). 
See: http://bharatkalyan97.blogspot.in/2015/06/meluhha-hieroglyphs-makara-torana-rope.html For examples from Indus Script Corpora of crocodile as hieroglyph component.
Sanchi stupa reliefs on a torana. Two mahouts ride on two elephants. One mahour carries a flagpost with a standard of 'srivatsa' hieroglyphmultiplex. In the background, a lotus bud PLUS molluscs flank a palm-spathe.

sippī f. ʻspathe of date palmʼ Rebus: sippi 'artificer, craftsman'
tAmara 'lotus' rebus: tAmra 'copper'
A pair of fish-tails: fourth component: ayo 'fish' Rebus aya 'iron'; ayas 'metal' PLUS dula 'pair' Rebus: dul 'cast metal'. Thus dul aya 'metal caster.'
Hieroglyph: kárṇikā Pa. kaṇṇikā -- f. ʻpericarp of lotus'' Rebus: kanka,  kāraṇikā  'scribe'. This reading is combined with sã̄khī 'mollusc' Rebus: sangin 'guild' to read the message as kāraṇikā sanghin 'scribes guild'.

It is notable that the antithetical S-curves denoting molluscs are ligatured with a pair of lotuses: tAmara 'lotus' Rebus: tAmra 'copper', thus emphasizing the artificer's work with copper alloys.

Why are yakṣá , yakṣiṇī dominant, frequently recurring art forms on Sanchi or Bharhut stupa tōraṇa friezes and on Begram ivories? 

I suggest that the artists,  śilpi, architects are conveying the substantive identifier gloss with phonemic variants: śākya, sakka , sakkia -- to reinforce their lineage of the Buddha and/or adherance to Bauddham.

The hieroglyphs deployed convey the semantics:1. śāˊkhā f. ʻbranchʼ RV.Pa. sākhā 'branch'; 2. hāngi (Kashmiri) sã̄khī 'mollusc, snail' (Bengali);



S. Kalyanaraman
Sarasvati Research Center
July 7, 2015



Politicking Nobel laureate, sour grapes of Amartya Sen of SoniaG coterie

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Amartya Sen quits Nalanda University but his sour exit does him no credit

by R. Jagannathan Feb 21, 2015
Amartya Sen is miffed that the NDA government is no hurry to extend his tenure as Chancellor of Nalanda University (NU), a global university being set up under an act of parliament in Bihar's Rajgir district. In a letter to the NU board, which is dominated by many international names, Sen said “it is hard for me not to conclude that the government wants me the cease being the chancellor of NU after this July, and technically it has the power to do so.”

While sending this letter, quoted by The Indian Express today (20 February), Amartya Sen also could not resist taking a potshot at the centre: “I am also sad, at a more general level, that academic governance in India remains so deeply vulnerable to the opinions of the ruling government, when it chooses to make political use of the special provisions. Even though the Nalanda University Act, passed by the Parliament, did not, I believe, envisage political interference in academic matters, it is formally the case - given the legal provisions (some of them surviving from colonial days) - that the government can turn an academic issue into a matter of political dispensation, if it feels unrestrained about interfering.”
This statement is surely not the whole truth. There is no evidence whatsoever that the central government meddled with “academic matters” - unless its (apparent) reluctance to appoint Amartya Sen is deemed as one such interference. The Ministry of External Affairs is the nodal ministry in the governance of Nalanda, given its proposed international character.

I would not quarrel with anything Amartya Sen has to say about political interference in academic institutions. This has been the case all along in many places. The sooner it is ended the better.

However, one wonders why he thinks his own appointment as chancellor of NU was not political in nature.

There is little doubt that Amartya Sen was the intellectual father of many of Sonia Gandhi's social spending schemes. And Sen himself kept making political statements in support of “my friend' Manmohan Singh, and, famously, said that he would not like to see Modi as Prime Minister.

For so political a person to complain about how politicians are meddling with academic institutions is interesting.

But, even assuming the Modi government is not keen on his continuing as Chancellor (we don't know that as yet), there are good reasons to consider other options beyond Amartya Sen once his term ends this July.

First, Sen is well past 81. Why should someone this old be running a young institution? When the university formally opened for its first academic session last September, Sen did not turn up for the event.

Second, Amartya Sen has not distinguished his tenure as chairman of the board (and de facto chancellor) by setting any great example of high-minded governance. In fact, the keyappointments to the university have been dogged by controversies relating to nepotism and non-transparency.

For example, the Vice-Chancellor, Gopa Sabharwal, was just a reader at Delhi's Lady Shriram College when she was appointed to the top job and given a salary of over Rs 5 lakh per month. While this may not be objectionable in a university that has a global mandate, this salary was nearly twice what the Delhi University VC was getting. The brouhaha forced her to take a cut. But despite the fact that NU is based in Rajgir, where a 450-acre campus is being planned, she is reported to be functioning out of Delhi.

Third, many key appointments appeared to point to the influence of Upinder Singh, a historian and daughter of Sen's friend Manmohan Singh. Soon after Gopa was appointed VC, Upinder was appointed as guest faculty at the University.

According to this Bihar Times report, Sabharwal appointed another friend, Anjana Sharma, as officer on special duty, again with a hefty salary.

Bihar Times lists Upinder Singh, Anjana Sharma, Gopa Sabharwal and Nayanjot Lahiri as four “sahelis” from Delhi who are closely associated with Nalanda.

The newspaper also notes that APJ Abdul Kalam, former President and the man who first suggested the idea of reviving Nalanda's past glory in 2006, declined to become its First Visitor (President Pranab Mukherjee is now the First Visitor, an honorary position) as he felt that the university needed a full time Chancellor and VC and not someone with other preoccupations. This implies that he did not think highly of the appointment of Sen as Chancellor, or his VC (read Kalam's note here).

Sen is right to flag political interference as a big issue in Indian academics, but he does protest too much. He appears to have done little to distinguish his own tenure at Nalanda with unimpeachable appointments that everyone would have lauded.

Nalanda University, which will be fully funded by the centre to the tune of over Rs 1,000 crore, deserves someone younger and more committed to the idea of reviving its past glory as a knowledge centre. It was ransacked and burnt by Muslim marauders in the 11th century AD.
http://www.firstpost.com/india/amartya-sen-quits-nalanda-university-but-his-sour-exit-does-him-no-credit-2110977.html

Nobel laureate Amartya Sen says Modi government wants control of academic bodies



Nobel laureate Amartya Sen says Modi government wants control of academic bodies
Sen said the Modi government has failed to understand that a market economy needs successful public services. 
NEW DELHI: In a move that could intensify the confrontation between the Modi government andNobel laureate Amartya Sen, Sen has now gone public with what he calls his "ouster" from the Chancellor-ship of Nalanda University. 

In a 4000 word candid essay about to be published in the August issue of the New York Review of Books, Sen has written about his exit from Nalanda University and said that Nalanda is by no means an isolated incident but part of a wide ranging attempt by the Modi government to seize direct control over academic institutions. 

READ ALSO: Modi govt does not want me to continue as Nalanda University chancellor, says Amartya Sen

Speaking exclusively to TOI ahead of the publication of the essay, Sen lashed out at what he called the "extraordinarily large" interference by the government in academia. He also said the economy is doing badly, and he is extremely worried that budgets for health and education have been drastically slashed. "I have never been anti industry but no country can become an industrial giant with an uneducated and unhealthy labour force," Sen said. 

Sen is slated to step down as Chancellor of Nalanda on July 17, when he will be replaced by George Yeo, former foreign minister of Singapore. 

"I was certainly ousted from Nalanda," Sen said. "Some members of the Board, especially the foreign members were keen on carrying on the battle for me but I stepped aside as I did not want to be an ineffective leader. The government may have held up finances or statues had I continued." 

"Nalanda not a one off incident. Nothing in this scale of interference has happened before. Every institution where the government has a formal role is being converted into where the government has a substantive role." 

Sen pointed out that at the TIFR, the government refused to ratify the director's-Dr Sandip Trivedi's__ appointment. This has never happened under any previous PM. Sen said its not just the HRD ministry but the entire Modi government which is to blame, as Nalanda comes under the MEA. 

READ ALSO: Academic freedom is under threat in India, says Amartya Sen

He pointed out that at the NBT, its head the famous writer Sethumadhavan was asked to step down and an RSS ideologue was appointed as head. He also said that at the ICCR, Dr Lokesh Chandra who has been appointed is someone who believes PM Modi was a greater personality that Mahatma Gandhi. He said at the ICHR, the head, Yellapragada Sudarshan Rao has not done any historical research, instead is someone who has written an article saying the caste system was wrongly blamed for being exploitative when it did a lot of good for India. 

"The Delhi IIT Director, Raghunath Shevgaonkar resigned, the IIT Bombay Board chairman, Anil Kakodkar, expressed that he could not help the government in anything in the future, for the IIMs they have introduced a bill where instead of having indirect power of withholding the signature which they did in my case or they did in Trivedi's case, now they would directly like to appoint the director. That's the new bill. Instead of having effective power, this becomes direct control." 

He also said the Modi government has failed to understand that a market economy needs successful public services. "India spends 1.2 per cent of GDP on public healthcare, China spends 3 per cent. Now even that 1.2 has been cut to 1 per cent. There is confusion in India is wanting high growth rates like China but overlooking that China has improved public services dramatically. It has pretty much guaranteed healthcare for all, they have everyone in school, they have complete coverage. That has been the Asian pattern of development. You do it together: market economy and the state's role. The market economy needs a complentarity with the public services." 

He also believes that while the UPA's 2013 Land Acquisition bill was confusing, the new NDA bill is "comprehensively wrong". What has gone wrong with this government is the fundamental understanding that human beings are at the centre of development, Sen said. Sen's forthcoming book 'The Country Of First Boys', a collection of essays, also dwells on his experiences at Nalanda. 


READ ALSO: Govt sitting on awards given on Amartya Sen's name

Vyapam: macabre education scam. NaMo, restitute kaalaadhan, send scamsters to Tihar.

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It is shocking beyond despair that in a nation that cherishes the tradition of vidya, education, as an asset for every individual at the service of dharma, abhyudayam, there are crooks engaged in criminalising the education and recruitment system.


Vyapam scam should be a wake-up call for realizing the degeneration set in together with the post-colonial loot after 1947. Now that Swarajyam May 2014 has been achieved, it is time to clean up and restitute kaalaadhan from the looters, sending the scamsters to an expanded Tihar.

NaMo has to initiate this Swaccha Bharat Mission, not mere external clearnliness but a consciousness of satyam and ritam. That will be true Swarajyam for a nation destined to reach out to Hindumahasagar Parivaar.

Kalyanaraman


Vyapam: How a Munnabhai-style Exam Scam Turned Into a Macabre Thriller

BY  ON 01/07/2015

With 24 dead and counting, Vyapam is one of the most complex, multi-layered scandals affecting public life in India. It is also the least understood. The Wire brings you up to speed.

Congress activists burning an effigy of Madhya Pradesh Chief Minister Shivraj Singh Chouhan in Bhopal on Monday, They are demanding for a CBI investigation into the Vyapam or Madhya Pradesh Professional Examination Board scam. PTI Photo
Congress activists burning an effigy of Madhya Pradesh Chief Minister Shivraj Singh Chouhan in Bhopal on Monday, They are demanding for a CBI investigation into the Vyapam or Madhya Pradesh Professional Examination Board scam. PTI Photo
Bhopal: The key facts are so disturbing as to be without parallel: a scam that covered higher education admissions and government recruitments in one of India’s largest states for several years, with cash worth hundreds of crores of rupees changing hands; 24 officially confirmed ‘unnatural deaths’ of accused persons and suspects including senior officials and the state Governor’s son. Unofficial estimates of deaths vary from 44 to 156, depending on who is making the claim; for every dead suspect, a 100 are either in custody (over 1800 arrests) or on the run (some 600); nearly 200 suspects have filed petitions requesting protection as they fear for their life; bigwigs whose names have been dragged into the spotlight so far include the state Governor, Chief Minister, a national spokesperson of the ruling BJP, and two of the senior most RSS leaders.
No wonder that the Professional Examination Board (PEB) or Vyapam, short for Vyavasik Pariksha Mandal, scam that came to light in July 2013 – one of the most blatant and extensive rigging exercises of its kind ever uncovered in India – is fast acquiring the shades of a macabre crime thriller.
The ‘unnatural’ deaths
In its status report to the Madhya Pradesh High Court on June 26, the Special Task Force (STF) probing the scam stated that 23 accused have died ‘unnatural deaths’. Two days later, one more accused, Narendra Singh Tomar, died mysteriously at Indore Central jail, making it 24 suspicious deaths from a pool of 2,400. In response, the High Court has stated that the decision about investigating these deaths will be taken in consultation with the Special Investigation Team (SIT) headed by a former High Court judge, formed by the court to monitor the probe.
It’s useful to note that 24 unnatural deaths is the official figure; the unofficial figure goes up to 44 and could be even higher. Leader of opposition Satyadeo Katare of the Congress claims that as many as 156 persons connected with the scam have died so far. “These 156 dead include accused and suspects, their family members, whistleblowers and witnesses,” he says. However, he has not been able to substantiate his claims or furnish a list of those he claims are dead.
A majority of those who died are from the Chambal region straddling Madhya Pradesh and Uttar Pradesh. Most of the dead were in the age group of 25-30. They were either students, who had fraudulently secured admission to medical colleges after paying hefty sums to touts of the PEB’s bosses, or job aspirants who benefited from the manipulation of recruitment tests.
For quite some time, only four unnatural deaths relating to the scam had been reported in the media. The most high-profile of these was that of Shailesh Yadav, son of Madhya Pradesh Governor Ram Naresh Yadav. The Governor was also named as an accused in a recruitment rigging matter in February this year but the High Court gave him relief a month later, saying that he enjoys constitutional immunity as long as he is in office.
File photo of MP Governor Ram Naresh Yadav and Chief Minister Shivraj Chouhan. PTI photo.
File photo of MP Governor Ram Naresh Yadav and Chief Minister Shivraj Chouhan. PTI photo.
Home minister Babulal Gaur has rejected the demand for an independent probe into the unexplained deaths linked to the scam. “It is for the High Court, which is monitoring the probe, to take a call in this matter. I cannot do anything about the deaths which, in my view were natural,” he told The Wire.
Meanwhile, Digvijaya Singh, AICC general secretary and a former chief minister of the state, says that the SIT has still to act on the information provided to it by him about Chief Minister Shivraj Singh Chouhan’s alleged involvement in the scam.“The STF is untrustworthy as it works under the direct control of the state government and the SIT cannot be relied upon because its chief admits to having no control over the probe,” says Digvijaya Singh, who moved the Supreme Court on Tuesday.
Unearthing the scam
The chronology of deaths in the case is significant. They started occurring two months ago, when STF sleuths speeded up their investigation to meet the Supreme Court deadline of June 15 for filing charge sheets in all the cases related to the scam. The sleuths discovered that a large number of the accused during interrogations pleaded innocence, putting the blame on ‘others’ who were found to be dead. This was read as an obvious ploy to mislead the probe.
The STF reported this trick to the SIT chairman, Justice (retired) Chandresh Bhushan, who is supervising the probe on the order of the MP High Court. Justice Bhushan, in turn, asked the STF to compile a list of the dead. In its previous status report to the High Court on May 27, 2015, the STF had reported 32 deaths but, after further investigation, the number was brought down to 23.
The two whistleblowers who blew the lid off the scam – Dr Anand Rai of Indore and Ashish Chaturvedi of Gwalior – say that several suspicious deaths relating to the scam have gone unreported in the media. For instance, the death of another accused in Gwalior on June 28 – Dr Rajendra Arya, accused of helping two students clear the pre-medical tests (PMTs) conducted by the PEB in 2007 and 2008 – is not being considered unnatural as he had been suffering a kidney ailment for over a year. Arya had been out on bail for year.
Among those who died in unexplained circumstances were three others: In January 2012, the body of Indore medical college student Namrata Damor, 23, was recovered on the railway tracks in Ujjain. Despite the post mortem report confirming she had been murdered, no inquiry was initiated into her death. Ujjain police dismissed the case as suicide. Damor had passed the pre-medical test in 2009, allegedly with help of a racketeer who worked for scam kingpin Jagdish Sagar.
On July 4, 2014, Jabalpur Medical College Dean DK Sakalle, 58, allegedly committed suicide at his official residence. He was engaged in the scrutiny of bogus candidates admitted to the college between 2008 and 2013. Home Minister Babulal Gaur had assured the state assembly that Sakalle’s alleged self-immolation would be investigated but his statement was not followed up by any action.
File photo of Narendra Singh Tomar, an accused in the high-profile MPPEB (Vyapam) scam, has died under mysterious circumstances in an Indore jail. PTI Photo
File photo of Narendra Singh Tomar, an accused in the high-profile MPPEB (Vyapam) scam, has died under mysterious circumstances in an Indore jail. PTI Photo
On March 25 this year, the Governor’s son, Shailesh (50), was found dead at his father’s residence in Mall Avenue area of Lucknow. Shailesh was accused of taking money to help 10 candidates from Bhind district clear the examination for the post of contractual teachers conducted by the board. The exchange of money allegedly took place in Raj Bhavan, the Governor’s official Bhopal residence.
Then again, on April 28, pharmacist Vijay Singh Patel, 35, was found dead in a hotel owned by a Bharatiya Janata Party MLA in Kanker (Chhattisgarh). Vijay was an accused in three cases relating to the scam and was likely to be booked in three more cases. He went missing a day before a scheduled hearing at a Bhopal court on April 17. Ten days later, his body surfaced.
However, the death of Tomar, the latest accused to die, is not going uncontested. A government veterinary surgeon, Tomar was facing charges of having arranged proxies to write the PMT for two registered candidates in 2009. Tomar’s younger brother Vikram, a government school teacher at Makdone Village in Ujjain District, has alleged that his brother was murdered inside Indore prison, where he had been lodged since February 2015, to cover up the crimes committed by others. Saying that the jail authorities informed him at 2.30 am that his brother was in a critical condition when he had died at 12.30 am, Vikram is asking for a CBI probe into his brother’s death.
Munnabhai, without the humour
The Vyapam scam surfaced in July 2013 when eight impersonators were arrested as they attempted to take a pre-medical test as proxies for registered candidates in Indore. These arrests were made possible by a tip-off from whistleblower Anand Rai. During the interrogations of the arrested individuals, the name of Dr Jagdish Sagar as the supposed kingpin of the racket surfaced.
Madhya Pradesh police knew about an admission racket for years as several medical colleges in the state had prepared lists of suspected ‘Munnabhais’ – students who had someone fill in for them by proxy, as depicted in the Bollywood film Munnabhai MBBS. But the police had nothing definite to go by. Sagar’s arrest in July, however, opened a can of worms, leading to the arrest of PEB examination controller Pankaj Trivedi in September 2013.
Exposing the enormity of the racket, Pankaj revealed that it was not confined to manipulation of the PMT exam alone; it also involved rigging the dozen-odd recruitment exams conducted by the board. This was done mostly by manipulating the computer system, allegedly the handiwork of chief system analyst Nitin Mahindra and his subordinates.
The PEB officials allegedly colluded with middlemen, racketeers, politicians and bureaucrats to subvert the functioning of the exam and recruitment system in three ways:
  • Impersonation: Brilliant students would write the exam for aspirants, with the examination board officers replacing their photographs with that of the original candidate after the exam The student would end up passing an exam which he or she never appeared for with flying colours, and the impersonators would be paid a hefty amount as fee.
  • Engine and bogie system: a person – the ‘engine’ — would be strategically placed between two ‘bogies’ or aspiring candidates so that both could copy from his or her answer sheet. The examiners would be usually bribed to fix the seating arrangements.
  • OMR (Optical Mark Recognition) sheets:  Candidates would be asked to leave their answer sheets blank for which they would be randomly given high percentages after the exam. Board officials would then file an RTI demanding to view those exact answer sheets. They would then fill in the answers in the OMR booklet according to the marks the candidates had already been given. This would be done so that if someone were to ever check those answer sheets, there would not be any loopholes that could give them away.
Another consummate fraud, this one mounted by college owners, was to get bright ‘scorers’ to appear for the tests. On clearing the test they would withdraw on the last date so that the promoters could sell the now vacant seats for a hefty price.
Exams as gold mine
The Professional Examination Board or Vyapam is the acronym of a self-financed autonomous board under the directorate of technical education of the MP government. Set up in 1970 to conduct entrance tests for the MBBS course, its ambit has grown over the years.
The Bhopal building of Vyapam. Credit: vyapam.nic.in
The Bhopal building of Vyapam. Credit: vyapam.nic.in
The proliferation of private medical and engineering colleges from 2004 onwards paved the way for the PEB to start conducting examinations for 50 percent of their seats. With the commercialisation of professional education in 2002, insiders obligingly played the role of Trojans, to breach the system from within for a price.
In 2007, the BJP government mandated the PEB to conduct all recruitment tests for an entire spectrum of government jobs – from constables to nurses, teachers, police sub-inspectors and all non-gazetted jobs. With this, the scope for graft also multiplied. Such was the deluge of candidates seeking favours in various exams that the scamsters maintained excel sheets to be on the ball.
Recruitment to 40 departments is controlled by the board.  Opportunities to manipulate the system for filling government departments with bogus candidates are immense. The recruitment of contract teachers and police personnel proved particularly more lucrative because the number of aspirants in those two areas was quite high. No wonder that most of the accused, including bureaucrats arrested for recruitment fraud, were largely linked to these two tests.
Earlier, these recruitments took place through the respective departments. Corrupt officials in the departments would strike deals with racketeers to get chosen candidates cleared. The clandestine operations would run smoothly, barring occasional rumblings from the candidates who thought they had been cheated of a job. But such complaints were too few and far between to warrant serious media attention.
The clockwork nature of the admission-recruitment racket emboldened the nexus to tweak the system more audaciously. For instance, when the ‘recruitment mafia’ realised that though they could help candidates pass the theory test for police recruitments but could not help them clear the physical test, they got fitness norms diluted. In some cases they even managed to get the fitness test abolished. The bureaucracy was only too willing to help the mafia – for the right price.
An all-star cast
Vyapam scam accused Sudhir Sharma
Vyapam scam accused Sudhir Sharma
With the racket growing into almost an industry, a top power broker in Madhya Pradesh, Sudhir Sharma, decided to take control of the PEB’s corrupt empire. Sharma’s rise during the 10 years of the BJP regime had been stupendous. He was a teacher in an RSS-run Saraswati Shishu Mandir. When his close friend, Laxmikant Sharma became mining minister, Sudhir quit his job and joined the mining business. Within years, he emerged as a top notch mining baron.
Leveraging his friendship with Laxmikant Sharma, Sudhir got an associate of his, Pankaj Trivedi appointed as examination controller in the PEB. Trivedi was a lecturer in an Indore college, so his elevation in the PEB raised many eyebrows in bureaucratic circles. One of Pankaj’s brothers, Piyush Trivedi, is the vice chancellor of the state’s only technical university. Their cousin, Sudhanshu Trivedi, is BJP’s national spokesperson, and has been accused of being one of the behind-the-scenes players in the scam.
As has been reported by the media, Sudhir Sharma was also close to RSS leaders such as lateKS Sudarshan and Suresh Soni. Both the RSS stalwarts are said to have recommended candidates in job tests, although this has since been denied by the STF.
According to investigators, Pankaj Trivedi turned out to be more adept at manipulating the system than Sudhir had ever imagined. He allegedly managed to suborn all the key functionaries in the board, notably chief system analyst Nitin Mahindra, assistant programmer C K Mishra, Ajay Sen and Santosh Gupta.
For years, Pankaj Trivedi and company got away with cheating thousands of deserving medical students and job aspirants, primarily because they were secure in the belief that Laxmikant Sharma, who was also technical education minister and former key aide to chief minister Chouhan, was protecting them. Although the PEB is supposed to be a self-financed, autonomous body with a senior IAS officer as chairman, it was Trivedi and company who called the shots.
By the time, the scam was unearthed in July 2013, the mafia had managed to admit over 1,000 undeserving students in the state’s medical colleges. All those admissions have since been revoked. In addition, several hundred had entered government jobs after paying a hefty cut to middlemen, who in turn shared the spoils with PEB members. Their fate now hangs in the balance.
Given the ever widening ramifications of the PEB scam, the CM announced the formation of a special task force (STF) for investigation. The Congress alleged that the STF was formed in a hurry to preclude a CBI probe as the CM was well aware of the involvement of BJP leaders, including himself.
However, the STF’s prompt actions managed to convince many about its earnestness and, as a result, the Congress failed to make the scam a potent election plank in the assembly polls held in November 2013. The BJP romped home with a bigger majority than before.
Once the election was over, the embarrassment for the new government began as Pankaj Trivedi started naming influential individuals who had benefited at the expense of thousands of deserving candidates for jobs and admissions. Pankaj named his mentors, and technical education minister Laxmikant Sharma and mining baron Sudhir Sharma as key recommenders for the fake appointments and admissions racket. Laxmikant Sharma, who had lost the 2013 elections and Sudhir Sharma, who went into hiding, were eventually arrested. They continue to be in jail.
With the arrest of these two key figures, the scam unravelled at breakneck speed. By December 2013, the STF had identified 129 accused. These included Dhanraj Yadav, officer on special duty (OSD) to the governor, IAS officer KK Jain, deputy commissioner RK Mishra, DIG RK Shivhare, IG Sonali Mishra’s brother Bharat Mishra, two state police officers from Gwalior, OSD to Laxmikant Sharma, OP Shukla, and OSD to the chief minister Prem Prasad. Some of them had paid money to touts for securing admission of their wards. Others had acted as touts themselves. Later, over a dozen more IAS, IPS and state service officers were nabbed. All of them are behind bars.
The following months saw the STF arresting suspects dozen-a-day. Medicos would be picked up from their homes and brought to the STF office for interrogation. Some would be accompanied by their parents. Poignant stories appeared in the media as to how some parents had obtained loans after pawning assets to pay the middlemen. Photographs of boys and girls being herded into police stations evoked pity towards the accused and anger against the system which brought them to this sorry pass. Although the arrests did not cease, their pace definitely slackened after public sentiment turned hostile against the government.
“It is a pity that poor students suffer the ignominy of arrests while the real culprits are still out of the law’s reach,” says leader of opposition Satyadeo Katare.
Political ramifications
Chief Minister Shivraj Singh Chouhan admitted during the inaugural session of the assembly after the formation of the new government in January last year that the STF had detected 1000 bogus appointments made possible through the nexus of the education mafia and PEB officials.
He, however, refused to accede to the Congress’s demand for a CBI probe. An infuriated Congress hit the streets in protest.  For months, the scam rocked the state. But the stir could not be sustained.
The near-decimation of the Congress in the Lok Sabha election in May last year had a profound bearing on the STF probe.  A confident BJP, which won 27 out of 29 Lok Sabha seats in the state, maintained that the STF was doing a fine job.
The Congress was too demoralised to revive the stir against the government. In November 2014, the MP High Court rejected Digvijaya Singh’s plea for a CBI probe, with the Chief Justice AM Khanwilkar ordering the formation of the SIT to monitor the probe instead.
Although for a while it seemed that the Congress had given up the fight, on February 16 this year, senior Congress leaders Kamal Nath, Jyotiraditya Scindia, Digvijaya Singh, PCC chief Arun Yadav and leader of opposition Katare addressed a joint press conference on the issue in Bhopal. They accused Chouhan of having deleted the original spreadsheet bearing his name in 40 places as a recommender for candidates. They alleged that the CM inserted union minister Uma Bharti and ‘Raj Bhawan’ wherever his own name figured in the Excel sheet.
The spreadsheet was allegedly procured from the hard disk of the then PEB system analyst, Nitin Mahindra, who is now in jail.  Mahindra would methodically maintain the names of all those who had recommended admissions and appointments for various tests through the PEB in spreadsheets. The High Court, however, rejected the information submitted by Digvijaya Singh as forged and gave a clean chit to the CM.
In fact, when Mahindra mentioned ‘Raj Bhawan’, he meant some one close to the Governor – either his OSD Dhanraj Yadav or son Shailesh Yadav. Where Ram Naresh Yadav himself had recommended a candidate, the Excel sheet maintained by the system analyst would mention him as ‘Governor’.
Digvijaya Singh maintains that the proof he gave is incontrovertible and that he had procured the excel sheet from whistleblower Prashant Pandey, who had once collaborated with the STF to crack PEB system analyst Nitin Mahindra’s computer data. Pandey photocopied the data and passed it on to the Congress leader.
When the police learnt about this, Pandey was arrested. He, however, fled to New Delhi after being released on bail in August 2014. Since then he is living under the protection of Delhi police on the order of the Delhi High Court.
Ball now in Supreme Court
The Madhya Pradesh government has dismissed reports of more than 40 unnatural deaths as “totally baseless”, but nationwide outrage over the scam-related deaths has revived hopes for a Supreme Court intervention in the matter.
On Tuesday, Digvijaya Singh moved the Supreme Court for a CBI probe into the scam. Senior Supreme Court lawyer Vivek Tankha too has announced that he will take up the case on behalf of the dead. “This is a most horrifying scandal where so many suspects have died mysteriously. I will try to ensure they get justice,” says Tankha, who had earlier unsuccessfully pleaded Digvijaya Singh’s case for a CBI probe in the MP high court and the Supreme Court.
In a scandal that is inextricably tied with the political fortunes of the ruling party, it remains to be seen how far the case goes or how long it takes to bring it to its conclusion. Considering the nature of the revelations so far, however, it is clear that this genie is not going back into the bottle meekly.
Rakesh Dixit is a Bhopal-based journalist with more than 35 years’ experience in the field
http://thewire.in/2015/07/01/vyapam-how-a-munnabhai-style-exam-scam-turned-into-a-macabre-thriller/

Indus Script hieroglyphs have VIRTUALLY NO influence on Kharoṣṭhī and Brāhmī syllabic scripts despite KP Jayaswal's arguments in Antiquary (1933)

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Mirror: http://tinyurl.com/nefomgf

Both Kharoṣṭhī and Brāhmī are syllabic scripts of ancient India.

It is a challenge for historians to unravel the roots and framework of these scripts (dated from ca. 3rd century BCE). A good resource is: Salomon, Richard, 1998, Indian Epigraphy: A guide to the study of inscriptions in Sanskrit, Prakrit, and the other Indo-Aryan languages, Oxford University Press. Mirror: http://tinyurl.com/qy4lx2b

There is substantial evidence from inscriptions, evidences of early coinage, that both Kharoṣṭhī and Brāhmī scripts were used TOGETHER WITH hieroglyph multiplex texts in the tradition of Indus Script Corpora (dated from ca. 3500 BCE)

A possible hypothesis is that the orthography of the 'symbols' selected for both Kharoṣṭhī and Brāhmī scripts to signify syllables of Meluhha language used the prototypes provided by hieroglyphs of Indus Script Corpora. This hypothesis gets disproved from the simple fact that there are not more than two or three 'symbols' which compare with the 'signs' or 'pictorial motifs' of Indus Script or Begram ivory plaques or Sanchi/Bharhut sculptural friezes. The comparable symbols are:

Kharoṣṭhī syllable compares with Pictorial motif of mollusc on Begram ivory plaque which denotes: hāngi ʻsnailʼ. The symbol for syllable 'ha' in Kharosthi is perhaps derived from this signifier on mlecchita vikalpa (lit. Meluhha cipher).

mollusc: śāṅkhika ʻ relating to a shell ʼ W. 2. *śāṅkhinī -- (śaṅkhinī -- f. ʻ mother -- of -- pearl ʼ Bālar.). [śaṅkhá -- 1]1. K. hāngi ʻ snail ʼ; B. sã̄khī ʻ possessing or made of shells ʼ.2. K. hö̃giñ f. ʻ pearl oyster shell, shell of any aquatic mollusc ʼ.(CDIAL 12380)

Hieroglyph on a Begram ivory plaque: a pair of molluscs tied with a chisel, barb:Tied: dhama ‘cord’ rebus: dhamma ‘dharma, virtuous conduct’ sangin ‘mollusc’ rebus: sangha ‘community’. Thus, dhamma guild has been identified by the hieroglyph multiplex.Tied: dhama ‘cord’ rebus: dhamma ‘dharma, virtuous conduct’ sangin ‘mollusc’ rebus: sangha ‘community’. Thus, dhamma guild has been identified by the hieroglyph multiplex.

Other symbols of Kharosthi and Brahmi which are comparable to Indus Script hieroglyphs (pictorial motifs and text signs) are listed below. 

The syllabic sounds of the symbols used in Brahmi or Kharosthi DO NOT seem to relate to the glosses signified on Indus Script Corpora by orthographically comparable hieroglyphs:

  Brāhmī  'ma', Kharosthi 'ma'
 Brāhmī Hieroglyph: gōṭī 'round pebble (Meluhha) Rebus: Lahnda. khoṭf ʻalloy, impurityʼ,
 Brāhmī Hieroglyph:  kandhi = a lump, a piece (Santali) rebus: kand 'fire-altar'; pottī  ʻglass bead' (Prakritam) rebus: potR 'priest, soma purifier'
 Brāhmī As a hieroglyph, this symbol may signify a trench-shaped fire-altar:

rhd1-t.jpg (8436 bytes)Rahman-dheri Seal1: Two scorpions flanking a frog and a sign T with two holes on the top, possibly to be tied on a string. Rahman-dheri seal. Obverse: Two scorpions. Two holes. One T glyph. One frog in the middle. Reverse: two rams.
1.mūxā  ‘frog’. Rebus: mũh ‘(copper) ingot’ (Santali) Allograph: mũhe ‘face’ (Santali)
2.bicha ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Mu.)
3.tagaru ‘ram’ (Tulu) Rebus: tagarm ‘tin’ (Kota). damgar ‘merchant’ (Akk.)
4.T-glyph may denote a fire altar like the two fire-altars shown on Warrka vase below two animals: antelope and tiger. kand ‘fire-altar’ (Santali)
5.Two holes may denote ingots. dula ‘pair’ Rebus: dul ‘cast’ (Santali)


 Kharoṣṭhī




^  Inverted V, m478 (lid above rim of narrow-necked jar)

aaren, aren lid, cover (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) (Siddhānti Subrahmaya’ śāstri’s new interpretation of the Amarakośa, Bangalore, Vicaradarpana Press, 1872, p. 330) http://bharatkalyan97.blogspot.in/2014/10/copper-plates-of-indus-script-and-rebus.html

The rimmed jar next to the tiger with turned head has a lid. Lid ‘ad.aren’; rebus: aduru ‘native metal’. It is possible that the 'lid' superscript on the 'rim-of-jar' hieroglyph signified a type of metal ingot in the karNI 'supercargo' -- in the supercargo of alloys of copper, eraka.
m478B
m0478B tablet erga = act of clearing jungle (Kui) [Note image showing two men carrying uprooted trees].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) hakhara — m.n. ʻbranch without leaves or fruitʼ (Prakrit) (CDIAL 5524) •era, er-a = eraka = ?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.) •era_ = claws of an animal that can do no harm (G.) •era female, applied to women only, and generally as a mark of respect, wife; hopon era a daughter; era hopon a man’s family; manjhi era the village chief’s wife; gosae era a female Santal deity; bud.hi era an old woman; era uru wife and children; nabi era a prophetess; diku era a Hindu woman (Santali) •Rebus: er-r-a = red; eraka = copper (Ka.) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) erako molten cast (Tu.lex.)  agasa_le, agasa_li, agasa_lava_d.u = a goldsmith (Te.lex.)  Hieroglyph: Looking back: krammara 'look back' (Telugu) kamar 'smith, artisan' (Santali) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.)

Kharoṣṭhī
Mohenjo-daro. Sealing.  Surrounded by fishes, lizard and snakes, a horned person sits in 'yoga' on a throne with hoofed legs. One side of a triangular terracotta amulet (Md 013); surface find at Mohenjo-daro in 1936, Dept. of Eastern Art, Ashmolean Museum, Oxford. [seated person penance, crocodile?] Brief memoranda:kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa  ‘metalware’ kaṇḍa  ‘fire-altar’.

maṇḍā 'raised platformstool' Rebus: maṇḍā 'warehouse'  OR kaṇḍo ‘stool, seat’ Rebus: kāṇḍa  ‘metalware’ kaṇḍa  ‘fire-altar’ Rebus: G. mã̄ḍ m. ʻ arrangement, disposition, vessels or pots for decoration ʼ, māṇ f. ʻ beautiful array of household vessels ʼ; M. mã̄ḍm. ʻ array of instruments &c. ʼ; Si. maḍa -- ya ʻ adornment, ornament ʼ. (CDIAL 9736). Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Munda.Ho.)

Links between Sarasvati-Sindhu civilization and Vikramkhol rock-shelter

Rock Art Shelter of Vikramkhol - Vikramkhol - Jharsuguda

Note: The rock selter of Vikramkhol is located at a distance of 12 kms from Belpahar and 2 kms east of the village Tentliabahal and 4.6 kms from the road branching from Belpahar to Hemgir road in the reserve forest of Belpahar range in Jharsuguda district. 

"The Vikramkhol inscription supplies a link (in) the passage of letter-forms from the Mohenjodaro script to Brahmi."(KP Jayaswal, 1933, The Vikramkhol inscription, The Indian Antiquary, 1933, Vol. LXII, pp.58-60). cf. SR Rao, 199, The Lost City of Dvaraka, New Delhi, Aditya Prakashan, p. 115 ff.

Jayaswal's article (1933) is mirrored below. Some insights provided by Jayaswal:

Right-hand top corner top line on Plate 8: the same symbol is repeated more than once, may point to the employment of numerals.

An animal figure which is probably not part of the writing, but a symbol. There is, however, one symbol like a bellows placed side-ways, which recurs.

The bellows-shaped letter above the animal figure may be compared with Mohenjodaro letter No. 119 (vol. II, p.440). The first letter (right-hand) in the top line on Plate 6 should be compared with Mohenjodaro No. 162.

I an unable to identify the 'animal' figure and the 'bellows-shaped letter' above the animal figure. If the 'animal' figure is identified, a comparison may be made with 'animal' hieroglyphs of Indus Script Corpora which are ALL related to metalwork.

In my view the insight of Jayaswal on a 'bellows'-like letter (repeated) is the most significant observation, in the context of Indus Script Corora being catalogus catalogorum of metalwork. It is possible that the occupants of the rock-shelter of Vikramkhol were working in a smithy-forge. The suffix -khol in the name of the locality is significant; it is rebus: kol 'working in iron'; kolle 'blacksmith'; kole.l 'smithy, temple'; kolimi 'smithy, forge'.

Richard Salomon notes that Jayaswal's claim of a link between the Indus Valley and  Brāhmī scripts is unconvincing (opcit., p.20). I would, however, conjecture that if Vikramkhol inscription is successfully deciphered, the pictorial motifs as well as symbols (assumed by Jayaswal to be Brāhmī syllables) may signify metalwork categories of information.

Further, it is reasonable to posit that the writers of Vikramkhol inscriptions are in the lineage of metalworkers of Sarasvati-Sindhu Civilization who wrote in mlecchita vikalpa (‘meluhha cipher) creating metalwork catalogues. This hypothesis is premised on the survival of hieroglyphs of Indus script on punch-marked and early cast coins of mints.

Once a transcript is made of the Vikramkhol inscription, it may be possible to identify the early forms of syllabic representations using the following table (opcit. Richard Salomon, p.25) provided, comparing Semitic alphabet with Kharoṣṭhī and Brāhmī syllables to provide for a reading of the information conveyed by the inscription. The language of the inscription is conjectured to be Meluhha (early Prakritam).



S. Kalyanaraman
Sarasvati Research Center
July 7, 2015

Resource references/links appended:

  • Kharosthi script: overview
  • Brahmi script: overview
  • Vikramkhol inscription: KP Jayaswal (Antiquary, LXII, 1933)
  • Links, photo-gallery related to Vikramkhol site

Kharosthi
Quick Facts
TypeSyllabic Alphabetic
GenealogyBrahmi
LocationSouth Asia
Time3rd century BCE to 4th century CE
DirectionLeft to Right
The Kharosthi Script was more or less contemporarily with the Brahmi script, appearing around the 3rd century BCE mainly in modern-day northern Pakistan and eastern Afghanistan, although some examples do occur in India. Like Brahmi, Kharosthi seemed to have been developed for Prakrit dialects (which was the common speech of everyday life as opposed to Sanskrit which was the liturgic language). For instance, the earliest example of Brahmi and Kharosthi did not have the dipthongs /ai/, /au/, and the vocalic /r/ and /l/, which existed in Sanskrit but not in Prakrit. In particular, Kharosthi seemed to be used primarily for the Prakrit dialect of Gandhari, the language of the ancient kingdom of Gandhara. The evidence for this is in the form of a diacritic mark that denotes a transformation of an intervocalic constant (sometimes from a stop to a fricative), which existed in Gandhari.

Structurally, the Kharosthi and the Brahmi are nearly identical. The "letters" in both represent a constant followed by the short vowel /a/ (we'll denote this a "C-a" sign). Both denote change in vowel by adding marks to a sign. Consonant clusters are formed in both system by juxtaposing two signs closely together, sometimes forming a ligature. There are some difference, though. For one, while Brahmi had different signs for different initial vowels, Kharosthi used the same marks that change vowels in C-a signs on the sign for initial /a/ to denote other initial vowels. Another difference is that while Brahmi differentiated long and short version of the same vowel, Kharosthi used the same sign for both.

Eventually the Kharosthi Script fell out of use by the 3rd or 4th century CE, and the descendent of Brahmi eventually took hold in the northwestern South Asian.

This is the basic Kharosthi script.

And an example of strokes added to indicate different vowels following the consonant /k/.

Related Links
http://www.ancientscripts.com/kharosthi.html
Brahmi
Quick Facts
TypeSyllabic Alphabetic
GenealogyBrahmi
LocationSouth Asia
Time5th century BCE to 4th century CE
DirectionVariable (Horizontal)
The Brahmi script is one of the most important writing systems in the world by virtue of its time depth and influence. It represents the earliest post-Indus corpus of texts, and some of the earliest historical inscriptions found in India. Most importantly, it is the ancestor to hundreds of scripts found in South, Southeast, and East Asia.

This elegant script appeared in India most certainly by the 5th century BCE, but the fact that it had many local variants even in the early texts suggests that its origin lies further back in time. There are several theories on to the origin of the Brahmi script. The first theory is that Brahmi has a West Semitic origin. For instance, the symbol for a resembles Semitic letter 'alif. Similarly, dhathala, and ra all appear quite close to their Semitic counterparts. Another theory, from a slightly different school of thought, proposes aSouthern Semitic origin. Finally, the third theory holds that the Brahmi script came from Indus Script. However, at least in my personal opinion, the lack of any textual evidence between the end of the Harappan period at around 1900 BC and the first Brahmi and Kharoshthi inscriptions at roughly 500 BC makes the Indus origin of Brahmi highly unlikely. Yet on the other hand, the way Brahmi, and its relativeKharosthi, works is quite different from Semitic scripts, and may point to either a stimulus-diffusion or even indigenous origin. The situation is complex and confusing, and more research should be conducted to either prove or disprove any of the theories.

Brahmi is a "syllabic alphabet", meaning that each sign can be either a simple consonant or a syllable with the consonant and the inherent vowel /a/. Other syllabic alphabets outside of South Asia include Old Persian and Meroïtic. However, unlike these two system, Brahmi (and all subsequent Brahmi-derived scripts) indicates the same consonant with a different vowel by drawing extra strokes, called matras, attached to the character. Ligatures are used to indicate consonant clusters.

The following chart is the basic Brahmi script. There are many variations to the basic letter form, but I have simplified it here so that the most canonical shape is presented.

And an example of strokes added to indicate different vowels following the consonants /k/ and /l/.

The Brahmi script was the ancestor of all South Asian Writing Systems. In addition, many East and Southeast Asian scripts, such as BurmeseThaiTibetan, and even Japanese to a very small extent (vowel order), were also ultimately derived from the Brahmi script. Thus the Brahmi script was the Indian equivalent of the Greek script that gave arise to a host of different systems. You can take a look at the evolution of Indian scripts, or the evolution of Southeast Asian scripts. Both of these pages are located at the very impressive site Languages and Scripts of India. You can also take a look at Asoka's edict at Girnar, inscribed in the Brahmi script.


Related Links
http://www.ancientscripts.com/brahmi.html

 

















Inscriptions on the Vikramkhol rock shelter in Jharsuguda date back to the Mesolithic period (3000 BCE to 4000 BCE).

http://www.telegraphindia.com/1111229/jsp/odisha/story_14938763.html























http://ignca.nic.in/asp/showbig.asp?projid=orgjhar0020001

Kharosthi

Kharosthi alphabet

Origin

The Kharosthi alphabet was invented sometime during the 3rd century BC and was possibly derived from the Aramaic alphabet. It was widely used in northwest India and central Asia until the 4th century AD.
Unlike the Brahmi script, which was invented at around the same time and spawned many of the modern scripts of India and South East Asia, Kharosthi had no descendants.
Kharoshti was deciphered by James Prinsep and others around the middle of the 19th century. Since then further material has been found and the script is now better understood.

Notable features

  • Kharosthi is a syllabic alphabet - each letter has an inherent vowel /a/. Other vowels are indicated using diacritics.
  • It was written from right to left in horizontal lines.

Used to write:

Gandhari and Sanskrit

Kharosthi alphabet

Consonants

Kharosthi consonants
Kharosthi vowels, numerals and punctuation

Sample text

Kharosthi sample text

Links

Kharosthi information (includes free Kharosthi font)
http://depts.washington.edu/ebmp/software.html
Kharosthi Unicode proposal submitted by Andrew Glass, Stefan Baums, and Richard Salomon - the above script chart and text sample is based on this
http://std.dkuug.dk/jtc1/sc2/wg2/docs/n2524.pdf
A Preliminary Study of Kharosthi Manuscript Paleography, by Andrew Glass
http://depts.washington.edu/ebmp/downloads/Glass_2000.pdf
ALPHABETUM - a Unicode font specifically designed for ancient scripts, including classical & medieval Latin, ancient Greek, Etruscan, Oscan, Umbrian, Faliscan, Messapic, Picene, Iberian, Celtiberian, Gothic, Runic, Old & Middle English, Hebrew, Sanskrit, Old Nordic, Ogham, Kharosthi, Glagolitic, Old Cyrillic, Phoenician, Avestan, Ugaritic, Linear B, Anatolian scripts, Coptic, Cypriot, Brahmi, Old Persian cuneiform:http://guindo.pntic.mec.es/~jmag0042/alphabet.html

Writing system used to write Sanskrit

जीवेम शरदः शतम् Live a hundred autumns (Atharva veda) Live free until you die -- Patrick Goble

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पश्येम शरदः शतम् ।।१।।

जीवेम शरदः शतम् ।।२।।

बुध्येम शरदः शतम् ।।३।।

रोहेम शरदः शतम् ।।४।।

पूषेम शरदः शतम् ।।५।।

भवेम शरदः शतम् ।।६।।

भूयेम शरदः शतम् ।।७।।

भूयसीः शरदः शतात् ।।८।।

May we see a hundred autumns.
May we live a hundred autumns.
May we be awake for a hundred autumns.
May we grow for a hundred autumns.
May we prosper for a hundred autumns.
May we continue for a hundred autumns.
May we adorn for a hundred autumns.
Even more than a hundred autumns.

Choosing Misery: The Culture of Victimhood and Ingratitude


Attention all armchair crusaders, warriors of the web, and victims of life, the universe, and everything:

Take a break from your e-rantings, your Twitter manifestos, and your Justrage railings. Stop screaming at your screens for a moment – they can wait, and the odds of them walking away are slim. Put down your Frappuccino, your Doritos, and your frozen pizza.

This is meant for you.

Not long ago, I happened upon an article on society’s newest scourge – one more aggressive than a microaggression, more fearsome than a raging Bull Connor, and more phallic than a good five-cent cigar – creeping sexism.
Terrified yet?  Collect your thoughts, change your underwear, and get back to your screens as soon as you can.

Beware of this great evil – one that would leave Brother Number One aghast and in tears.  Here is the root of our nation’s problems:

Referring to mixed-gender groups as “you guys.”

Yes, that’s it!  That’s what’s killing our economy, molesting our innocents, and driving us ever closer to the sulfurous abyss.

...Now, here is the real problem: that every self-righteous, mollycoddled twit with a keyboard considers it a duty to spew forth inane writings addressing the endless list of so-called social inequities.

I have been inspired to join the fray, only I won't be waging war against those standing in the way of universal equality and tolerance.  My war will be fought against the irate, status-updating, post-sharing keyboard warriors who perpetuate this culture of blind, banal fury because they are so desperate to feel alive and with purpose that they seek to create an adversary where none naturally exists.

Heavens, I am cruel, and the world has been cruel and unfair to us, hasn't it, my victimized friends?

Or has it?

Perhaps all of these causes that keep too many of us energized, falsely ennobled, and indignant; that appear to give us some greater sense of use and purpose (while conveniently requiring no sacrifice at all), allow us to ignore the facts that very few of us in this land of privilege face or have faced any real struggles, that our lives are hollow and lonely, and that millions of us contribute nothing to society but vitriol.

Consider, warriors, the tremendous value of critically examining our own minds and thought processes; of understanding how we may best contribute to the world; of knowing those around us (not just their screen names); of observing and learning from our environment; and of cultivating gratitude for the countless lives and millennia of sacrifice required to make our lives nearly effortless and more comfortable than those of kings in generations past.
Do you truly believe the smartphone or computer upon which you're reading this was invented by fairies?  Do you think your car is the handiwork of elves?  Do you believe that having food on demand, a house of forever moderate temperatures, and a life in which polio, smallpox, and tetanus are little more than diseases written about in history books is the natural order of things?
The technology before you is the result of lifetimes of hard work and innovation, and for every person who grew rich and successful from patents, royalties, or publications, a thousand great souls sacrificed themselves for all that we have today – their unrecognized and stolen creations and discoveries, even their noble failures, were all requisite for these lives of ease and self-indulgent pity.

Let all decent and thoughtful men and women stand together and shame those who undermine our collective sanity and peace of mind with their petty, trivial, and moronic causes.  Let all of us, the grateful ones, call this nonsense what it is: something upon which the useless and the vile fixate so that they may deceive themselves into believing that they serve some purpose in life beyond that of mechanical ducks – ingesting and excreting whatever is thrust before them.

I propose a movement that calls out, without hesitation or reservation, the arbitrary nature of these causes and recognizes that anyone who promotes the idea that we are all equal in every way is not only a fool, but a dangerous one.
We are not all equally failing, indifferent, dimwitted, or immoral, nor are we all equally talented, worthy of love and attention, successful, or productive.  Not everything is subjective.  Not everything is just an opinion.  To collectively believe otherwise is suicidal, and this thinking has directly contributed to the decline of our civilization, one in which far too many people are now appallingly ineffectual, apathetic, and unskilled.

The notion that all people, no matter what they do or don’t do, accomplish or don’t accomplish, are equal – no better or worse than anyone else – must be fought against.

We are fast becoming a nation of lazy, spoiled weaklings, incapable of introspection, a place where every legitimate accomplishment must be minimized and every failure must be excused, lest the egos of the Cheetos-munching e-masses be turned black and blue from the trauma of the truth.
I propose that we build a culture of deliberate thought and unbiased observation, where each and every person’s contribution is considered with care, regardless of age, sex, or race.  This is not equality – I despise the word equality.  It has come to mean nothing more than the flattening of our perceptions, the dismissal of our abilities to maturely reason and judge, and a willful ignorance of our variations in intellect, knowledge, skill, and moral fiber – real differences that constitute the only sort of diversity worth taking into account.  “Equality” as it is being thrust upon us by the champions of mediocrity is an insult to the memories and legacies of the true innovators – the heroes of discovery – that gave us computers, cars, unparalleled health and longevity, and perpetually full bellies.

These heroes were not the equals of their peers; they were their superiors, just as those who carry on this noble struggle today are our superiors.  To say otherwise is to lie perniciously.

Are you capable of surviving outside our bubble of engineered luxury?  How many of us can grow or hunt our own food, or can build shelters to protect ourselves from the elements?  How many of us possess the wherewithal and dedication to rear our own children?

Rather, we eat from refrigerators, live in prefabricated boxes, and dump our children in public schools.  We shuttle our spawn from one extracurricular activity to the next and otherwise avoid their dreaded company at all costs, while somehow still managing to feel as though we are involved, dedicated parents.  We are safe in the knowledge that the cereal they eat is fortified, the water they drink will not infect them with cholera, and their scrapes and broken bones will not turn gangrenous.

This is what we have been permitted to become, yet we rarely consider what allows us to survive in our current state of unfitness.  Nature extends only begrudgingly the modest kindness of a merciful death to the sick, the slow, or the lacking in initiative; however, we, even the most underwhelming of us, live in comfort.  Consider that.  Consider those who made it so.

Open your eyes, hearts, and minds, my friends.  Take a step back from all your pettiness, and try to take in the big picture.  This is not a global malady – it is a disease of excess.  Still, most of us “living” in the developed world aren't really living at all: we are too busy being hurt and offended for that.  We are sustained by a complex and artificial social and technological apparatus to which the vast majority of us have contributed nothing, yet the bulk of us appear far too obtuse, oblivious, or maliciously ignorant to be aware of as much.

Do you live in this world of fantasy?  Have you not stopped to consider the horrific suffering of those who lived before you and the hellish lives of far too many around the globe today?

Take stock of what you are and your real strengths and limitations – look at them unflinchingly.  Acknowledge your privilege and the profound obscenity of this psychosis of affluence and boredom.  Remember that we are not all equal – rejoice in that.  We owe our lives and our comfort to our betters.  Honor them and their sacrifices in all that you do and whenever you make use of the fruits of their genius.

Rid yourself of all your illusions and self-deceptions.  Do not obsess over slights and minor transgressions.  Enjoy the glorious inheritance of hard-won knowledge that you have been given – that we have all been given.  Use it wisely and with compassion.  Contribute to it if you can – there is great honor in trying to do so, even if you fail.  Do not partake of the bile and vomit.  Free yourself of the idiocy of the self-pitying do-nothings, the perpetual victims, and the ungrateful parasites.

Live free for your remaining time – and all of us have but a short time left, as we have from the day we were born.

Live free until you die.

http://www.americanthinker.com/articles/2015/07/choosing_misery_the_culture_of_victimhood_and_ingratitude.html

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