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Yupa mēḍhā ‘stake’ Indus Script hieroglyph signifies smelting of mẽṛhẽt, meḍ 'iron'

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Yupa mēḍhā ‘stake’ Indus Script hieroglyph on sculptures, on coins of ancient Indian mints signifies smelting of mẽṛhẽt, meḍ'iron' 

मेधा = धन Naigh. ii , 10. pl. products of intelligence , thoughts , opinions) RV  mēdhḥ मेधः An offering, oblation. Thus, mēḍhā 'stake' is central to the process of yajna and creation of धन dhana, 'wealth'. (See depiction of dwarfs on Bhutesvar sculptural friezes to signify kharva, karba). Hieroglyph: खर्व (-र्ब) a. [खर्व्-अच्] 1 Mutilated, crippled, imperfect; Yv. Ts.2.5.1.7.-2 Dwarfish, low, short in stature. Rebus: karba 'iron' = kharva 'a treasure, nidhi of Kubera'.

The yupa hieroglyph on railed platform on scultptures and coins of ancient mints is a significant semantic indicator of smelting processes in metalwork. The skambha described in Atharvaveda (X.7) and in Rigveda ricas signyfying a vedic yajna process is mirrored as yupa in fire-altars of Sarasvati-Sindhu civilization. A variant orthographic form of octagonal vajra hints at the purpose signified by the Skambha as vajrasanghAta, 'an adamantine glue' in the transmutation processes converting dhAtu 'mineral ores' into 'metal, hard alloys'. This purpose is demonstrated on sculptural friezes of Mathura and Bhutesvar.  वज्र--संघात [p= 914,1] m. N. of a kind of hard cement (Varahamihira's Brihatsamhita) mfn. having the hardness or compactness of adamant (said of भीमMBh. i , 4775

Figures 1 to 10 are examples of the continuity of use of Indus Script hieroglyphs to signify metalwork by Bharatam Janam, 'metalcaster folk'.

Fig. 4 Ujjain coin hieroglyphs are deciphered. kanda 'fire-altar' for poLa 'magnetite ore' and mẽṛhẽt, meḍ'iron' सं-घट [p= 1130,1] mf()n. heaped , piled up AgP.
The coin hieroglyphs signify iron ore smelting in a mint. 
Pa. kandi (pl. -l) necklace, beads. Ga. (P.) kandi (pl. -l) bead, (pl.) necklace; (S.2) kandiṭ bead. (DEDR 1215) Rebus: Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe. kandafire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214)

Dotted circle is a cross-section of a strand of rope: S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. Rebus: dhāˊtu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāūdhāv m.f. ʻ a partic. soft red stone ʼ(Marathi) धवड (p. 436) [ dhavaḍa ] m (Or धावड) A class or an individual of it. They are smelters of iron (Marathi) gaNDa 'four' (DEDR 1215) Rebus: kanda 'fire-altar'. Thus, the Ujjain hieroglyph of four joined dotted circles signifies a fire-altar for mineral ore. poLa 'zebu' Rebus: poLa 'magnetite ore' sangaDa 'lathe, portabe furnace' Rebus: sanghAta 'adamantine glue', sangara 'proclamation'; mēḍhā m A stake, esp. as forked. Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) med 'copper' (Slavic languages)

Octagonal yupa brick found in the fire-altar, Binjor. Discovered together with an Indus Script seal which signified metalwork.  http://bharatkalyan97.blogspot.in/2015/12/binjor-fire-altar-with-octagonal-yasti.html

See: http://bharatkalyan97.blogspot.in/2015/05/rigveda-soma-not-herb-not-drink-but.html A tree associated with smelter and linga from Bhuteshwar, Mathura Museum. Architectural fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a pipal tree encircled by railing. (Srivastava,  AK, 1999, Catalogue of Saiva sculptures in Government Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter indicated by the railing around the linga: kuṭa°ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ  Rebus: kuhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228). See: 

Worship of linga, of fire by Gandharva, Shunga period (ca. 2nd cent. BCE), ACCN 3625, Mathura Museum. Worship signified by dwarfs, Gaṇa (hence Gaṇeśa =  Gaṇa +  īśa).
Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2). This is the most emphatic representation of linga as a pillar of fire. The pillar is embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter used for smelting to create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda)मेड (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake, esp. as bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ) A small bifurcated stake: also a small stake, with or without furcation, used as a post to support a cross piece. मेढ्या (p. 665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person considered as the pillar, prop, or support (of a household, army, or other body), the staff or stay. मेढेजोशी (p. 665) [ mēḍhējōśī ] m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village.मेंधला (p. 665) [ mēndhalā ] m In architecture. A common term for the two upper arms of a double चौकठ (door-frame) connecting the two. Called also मेंढरी & घोडा. It answers to छिली the name of the two lower arms or connections. (Marathi)
मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda) 
The association of dwarfs, gaNa is consistent with the interpretation of Ganesa iconography with elephant trunk: karibha 'elephant trunk' (Pali) rebua: karba 'iron' (Tulu); ib 'iron' (Santali) kara 'trunk' khAr 'blacksmith'. Siva's gaNa are Bharatam Janam, metalcaster folk engaged with पोतृ pōtṟ 'purifier priest' to signify dhā̆vaḍ, dhamaga 'smelter, blacksmith' working in alloy of three mineral ores. The garland depicted on Bhutesvar sculptural friezes signifies: dhAman 'garland, rope' rebus: dhamaga 'blacksmith', dhmAtr 'smelter'.

Candi Sukuh and Candi Ceto narratives are a cultural continuum of the veneration of Skambha, the fiery pillar of light as a metaphor for the cosmic dance of dissolution and regeneration. The message of the narratives of Indus Script hieroglyphs and of Candi Sukuh/Candi Ceto are the same: liberation of the Atman as the Cosmic Dancer renders in rhythm and dance the Cosmic phenomena finding expression in kole.l 'smithy' i.e. kole.l 'temple'.
This skambha, fiery pillar of light, seems to be of an infinite size with roots and end indeterminate, a concept represented in sculptural frieze of Darasuram, Airavatesvara temple. Both Brahma and Vishnu are signified as searching for the the beginning and end of the skambha as īśvará, now presented in an iconic form with multiple hands, hence multiple attributes.

Fig. 1 Clay sealing
Malwa, clay sealing
Weight:  4.48 gm., Dimensions: 20x15 mm.
Railed yupa (sacrificial post) with side decorations and
 a Brahmi legend below reading khadasa
Reference: Pieper collection
Thanks to Shailendra Bhandare for the correct reading. According to Bhandare the legend refers to the worship of Skanda; similar objects pertaining to the Skanda cult have been reported from regions of Malwa, Vidarbha and the Deccan.

Ashvamedha (horse sacrifice) type
Samudragupta, gold dinar, c. 335-375 CE
Weight: 7.46 gm, Diameter: 21 mm.
Sacrificial horse standing left, yupa (sacrificial post) before,
     circular Brāhmī legend around and si (for siddham) below horse /
Queen standing left, holding towel in left hand, flywhisk in right over her shoulder
     needle before, Brāhmī legend at right: Ashvamedhaparākrama
The Ashvamedha type of Samudragupta is arguably the most beautiful Gupta coin.
Fig. 3
Samudragupta, gold dinar, c. 335-375 CE
Weight: 7.37 gm, Diameter: 23 mm.
Sacrificial horse standing left, yupa (sacrificial post) before,
     circular Brāhmī legend around and si (for siddham) below horse /
Queen standing left, holding towel in left hand, flywhisk in right over her shoulder
     needle before, Brāhmī legend at right: Hayamedhaparākrama
A unique coin in which the reverse legend reads Hayamedhaparākrama instead of the usualAshvamedhaparākrama. Haya is another Sanskrit word that means "horse."
http://coinindia.com/galleries-samudragupta.html

Fig. 4 Ujjain coin
Ujjain, anonymous AE 1/6 karshapana, bull type
Weight: 1.37 gm., Diameter: 11x10 mm.
Obv.: Bull to right with Indradhvaja above; railed yupa (sacrifical post)
          on right.
Rev.: Double-orbed Ujjain symbol.
Reference: Pieper 333



http://coinindia.com/galleries-ujjain3.html

Fig. 5 Kuninda coin
A hieroglyph under the deer reinforces the message from the Kuninda mint.
ḍã̄g mountain-ridge (Hindi) dhangar 'blacksmith'. miṇḍāl 'markhor' (Tōrwālī) meḍho a ram rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) med 'copper' (Slavic languages)


https://www.academia.edu/6146020/2014_JONS_218_-_A_COMPREHENSIVE_CATALOG_AND_CLASSIFICATION_OF_THE_SILVER_COINS_OF_THE_KUNINDA_DYNASTY_with_edits_02_21_2014Kuninda coin See: http://bharatkalyan97.blogspot.in/2015/05/simorg.html?view=magazine.

Silver coin of the Kuninda Kingdom, c. 1st century BCE.
Obv: Deer standing right, crowned by two cobras, attended by Lakshmi holding a lotus flower. Legend in Prakrit (Brahmi script, from left to right): Rajnah Kunindasya Amoghabhutisya maharajasya ("Great King Amoghabhuti, of the Kunindas").
Rev: Stupa surmounted by the Buddhist symbol triratna, and surrounded by a swastika, a "Y" symbol, and a tree in railing. Legend in Kharoshti script, from righ to left: Rana Kunidasa Amoghabhutisa Maharajasa, ("Great King Amoghabhuti, of the Kunindas"). NB: Note the svastika, tree and mountain glyphs; these are Indus script hieroglyphs on the coin, attesting to the survival of the writing system in metallurgical contexts -- in this case, in the context of a mint. Note on Kuninda.
IGNCA Newsletter, 2003 Vol. III (May - June) 

Fig. 6 Lakshmi Samudragupta gold dinar

"Lakshmi standing on a makara (elephant headed fish) to the left, holding long stemmed lotus in left hand, her right hand extended to her side, Samudragupta, gold dinar, Ca.355-380, The Skanhe Collection, ACSAA." 

Fig. 7 Lakshmi Kumaragupta gold dinar



Lakshmi standing on crocodile, head turned right, hoding long stemmed lotus in left hand and feeding fruit to a peacock with her right, Kumargupta I, gold dinar, Ca.414-455, The Skanda Collection, ACSAA
http://ignca.nic.in/asp/showbig.asp?projid=ac28









Figure 8. Khandagiri hieroglyphs Khandagiri caves (2nd cent. BCE) Cave 3 (Jaina Ananta gumpha). Fire-altar?, śrivatsa, svastika


Khandagiri caves (2nd cent. BCE) Cave 3 (Jaina Ananta gumpha). Fire-altar?, śrivatsa, svastika (hieroglyphs) (King Kharavela, a Jaina who ruled Kalinga has an inscription dated 161 BCE) contemporaneous with Bharhut and Sanchi and early Bodhgaya.

Figure 9. Homage tablet Kankali Tila Tablet of Homage carved with a Svastika, Mathura, from the JainaKankali Tila at Mathura. About 1st century A.D. now preserved in Lucknow Museum.



Figure 10. Tree on platform
clip_image003Tree shown on a tablet from Harappa.
[Pl. 39, Savita Sharma, opcit. Tree symbol (often on a platform) on punch-marked coins; a symbol recurring on many tablets showing Sarasvati hieroglyphs].

Figure 11. Astamngalaka haara including Forked stake as one of 8 hieroglyphs
aṣṭamangalaka hāra

aṣṭamangalaka hāra  depicted on a pillar of a gateway(toran.a) at the stupa of Sanchi, Central India, 1st century BCE. [After VS Agrawala, 1969, Thedeeds of Harsha (being a cultural study of Bāṇa’s Haracarita, ed. By PK Agrawala, Varanasi:fig. 62] The hāra  or necklace shows a pair of fish signs together with a number of motifsindicating weapons (cakra,  paraśu,an:kuśa), including a device that parallels the standard device normally shown in many inscribed objects of SSVC in front of the one-horned bull. 
(cf. Marshall, J. and Foucher,The Monuments of Sanchi, 3 vols., Callcutta, 1936, repr. 1982, pl. 27).The first necklace has eleven and the second one has thirteen pendants (cf. V.S. Agrawala,1977, Bhāraya Kalā , Varanasi, p. 169); he notes the eleven pendants as:sun,śukra,  padmasara,an:kuśa, vaijayanti, pan:kaja,mīna-mithuna,śrīvatsa, paraśu,
darpaṇa and kamala. "The axe (paraśu) and an:kuśa pendants are common at sites of north India and some oftheir finest specimens from Kausambi are in the collection of Dr. MC Dikshit of Nagpur."(Dhavalikar, M.K., 1965, Sanchi: A cultural Study , Poona, p. 44; loc.cit. Dr.Mohini Verma,1989, Dress and Ornaments in Ancient India: The Maurya and S'un:ga Periods,Varanasi, Indological Book House, p. 125). 



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 268, Plates VIII to XI

W. Theobald, 1901, A revision of the symbols on the ‘Karshapana’ Coinage, described in Vol. LIX, JASB, 1890, Part I, No. 3, and Descriptions of many additional symbols, Journal of the Asiatic Society of Bengal, Bombay Branch (JASB), No. 2, 1901 (Read December, 1899).

The 'symbols' which are a continuum from Indus script hieroglyphs all of which relate to metalwork are:




















Meluhha glosses read rebus related to metalwork for these Indus script hieroglyphs are detailed in the book, Indus Script -- Meluhha metalwork hieroglyphs (2014).
See the hieroglyph of a fishtail PLUS two molluscs tied together with a dhAman 'rope' which signifies dhamaga 'blacksmith'. The word is also related to the gloss dhamma 'dharma' propounded by Jaina Tirthankara who is adored, venerated on the āyāgapaṭṭa.
FIG. 20. ANCIENT INDIAN COIN. (Archæological Survey of India, vol. x., pl. ii., fig. 8.)

Fig. 20. Ancient Indian Coin.

āyāgapaṭṭa, Mathura.

This is not an isolated, anecdotal evidence. The cultural continuum is also seen in the continued use of Indus Script hieroglyphs during the historical periods on punch-marked coins.

Indus Script hieroglyphs on Kuninda coin: svastika, tree, mountain-range, portable furnace, markhor, woman, flowing water

Tri-ratna symbol on top of a stupa, Kuninda coin, 2nd c. BCE
Meluhha rebus readings:

sattva 'svastika glyhph' Rebus: jasta 'zinc'
kuṭi ‘tree’ Rebus: kuṭhi ‘smelter’kuṭhāru 'tree' Rebus: kuṭhāru 'armourer'
G. sãghāṛɔ m. ʻlathe’ 'portable furnaceRebus:  संघाट joinery; M. sãgaḍ ‘double-canoe’ Rebus: sangataras ‘stone-cutter, mason’

Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ ‘ram’, miṇḍā́l ‘markhor’ (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Munda.Ho.)
kola 'woman' Rebus: kol 'working in iron'; kolhe 'smelter'
kāṇḍa 'water' Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ Thus, cast bronze metalware.


Hieroglyphs: mountain-range, leaflesss tree:  ḍã̄g mountain-ridge (H.)(CDIAL 5476). Rebus: dhangar ‘blacksmith’ (Maithili) ढांक [ ḍhāṅka ] n ढांकळ f C An old and decaying tree: also the stump or naked stalks and stem remaining (of a little plant).(Marathi) WPah.kṭg. ḍāṅg f. (obl. -- a) ʻ stick ʼ, ḍaṅgṛɔ m. ʻ stalk (of a plant) ʼ Rebus: ḍhangar  blacksmith’ kolom ‘three’ Rebus: kolami ‘smithy, forge’ Vikalpa: khōṇḍa A tree of which the head and branches are broken off, a stock or stump: also the lower portion of the trunk—that below the branches. (Marathi) Rebus 1: kõdā 'to turn in a lathe' (Bengali) Rebus 2: koḍ 'workshop' (Gujarati)

āyāgapaṭṭa, Kankali Tila.Tablet of Homage carved with a Svastika, Mathura, from the JainaKankali Tila at Mathura. About 1st century A.D. now preserved in Lucknow Museum.

One hieroglyph is seen on Kuninda coin and also on Jaina āyāgapaṭṭa of Kankali Tila. The hieroglyph is:

kanga 'brazier' on Kuninda coin.

  Two views: 1.As on the sculptural frieze. 2. Inverted. kanga 'brazier' on  Jaina āyāgapaṭṭa of Kankali Tila.

This hieroglyph is a variant of the kanga 'brazier' shown as a hieroglyph-component of the hieroglyph-multiplex seen as 'standard device' combined lathe PLUS portable furnace or brazier: 

sangada 'lathe', 'portable furnace' G. sãghāṛɔ m. ʻlathe’ ; sã̄gāḍā m. ʻ frame of a building ʼ, °ḍī f. ʻ lathe ʼ(CDIAL 12859) Rebus 1: sangara 'proclamation' Rebus 2:sangataras. संगतराश lit. ‘to collect stones, stone-cutter, mason.’ संगतराश संज्ञा पुं० [फ़ा०] पत्थर काटने या गढ़नेवाला मजदूर । पत्थरकट । २. एक औजार जो पत्थर काटने के काम में आता है । (Dasa, Syamasundara. Hindi sabdasagara. Navina samskarana. 2nd ed. Kasi : Nagari Pracarini Sabha, 1965-1975.) पत्थर या लकडी पर नकाशी करनेवाला, संगतराश, ‘mason’.

Khandagiri caves are also adorned with brazier, śrivatsa, svastika hieroglyphs: (Note: śrivatsa hieroglyph-multiplex may be a variant of the  deciphered in: http://bharatkalyan97.blogspot.in/2015/11/ornamental-endless-knot-svastika-other.html

S. Kalyanaraman
Sarasvati Research Center
December 21, 2015




Rewriting Itihāsa of Bhāratam Janam

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Mirror: https://www.academia.edu/19774603/Rewriting_Itih%C4%81sa_of_Bh%C4%81ratam_Janam


https://www.youtube.com/watch?v=QtUdfITg8lg (4:35) Published on Dec 21, 2015
New light on Sarasvati-Sindhu Civilization: Rewriting Itihāsa of Bhāratam Janam (Rigveda 3.53.12)

Rebirth of Vedic River Sarasvati in Dharma-Dhamma राष्ट्रम् Rashtram spanning the Himalayas & Hindumahasagar हिन्दूमहासागर परिवार

As the brilliant engineers of Bharatam rewrite history by making the Vedic River Sarasvati flow again through interlinking with Sharada river (across an aqueduct crossing Ganga-Yamuna rivers) and joining reborn Sarasvati, it is an occasion for re-enacting the Pariyatra of Balarama described in Salya parva of Mahabharata, from Somnath, Prabhas Patan to Plaksha Prasravana, the glacial source of Maa Sarasvati.

This engineering marvel will be matched by the rediscovery of the Pitr-s, ancestors of Bharatam Janam, the heritage of metalcasting with cire perdue (lost-wax technique) and creation of new metal alloys and the Prakritam which was the lingua franca of the nation from 8th millennium BCE will reunite the nation in Indian sprachbund (language union) and firmly anchor the indigenous origins of Bharatiya Sabbyataa, Vedic traditions and adoration of dharma-dhamma.


S. Kalyanaraman
Akhila Bharatiya Itihasa Sankalana Yojana
December 20, 2015

Jaitley fights AAP, court battle against Kejri. NaMo, nationalise kaalaadhan.

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Scathing. If this does not singe, nothing will.
End of the day, it's a pity. CM could have focused on Delhi, built a New Politics. Populist activism got the better of him.

Absolutely. And all who believe in decency would stand by
Belligerence may thrill the LCD, but it won't help you in court. Grow up, stop spoiling for a fight you won't win.
An in-house Commission of Inquiry led by a man who was opposed by Modi government for judgeship. Totally neutral.
  1. Rubbish. would never touch tainted money. Everyone who knows him knows his integrity is unimpeachable.
  2. I've known AJ for 25 years. He has a large heart. But if pushed beyond a point, he is remorseless.
  3. In the world of a trial court judge that trick won't work. Believe me.
  4. Tough choice. Be present in court to watch Kejriwal defend his charges in shrill adolescent voice or Ashu defend himself in English. Vote?
  5. For starters Kejriwal will have to prove his defamatory charges in two courts of law. He should worry. Seriously.
Tuesday , December 22 , 2015 |

Jaitley fights AAP and his own

- Court battle against Kejri, silence on Kirti
Arun Jaitley arrives at the Patiala House court to file a defamation suit against Arvind Kejriwal and other AAP leaders on Monday. Picture by Yasir Iqbal
New Delhi, Dec. 21: Finance minister Arun Jaitley today moved civil and criminal defamation suits against Arvind Kejriwal and five party associates, a day after the Delhi chief minister announced an inquiry into corruption charges during the BJP leader's stewardship of the state cricket body.
Jaitley personally turned up at the Patiala House court to file the criminal case, followed by supporters and television cameras, seeking prosecution of the accused for offences that carry up to a two-year jail term. His lawyer moved the civil suit at Delhi High Court, seeking Rs 10 crore in damages.
Veteran lawyer Ram Jethmalani will represent Kejriwal and Aam Aadmi Party colleagues Kumar Vishwas, Ashutosh, Sanjay Singh, Raghav Chadha and Deepak Bajpai, sources said. Hearing of the criminal case starts on January 5. Jethmalani has had several run-ins with Jaitley before and after being suspended from the BJP in 2013.
"By filing defamation case, Jaitley is trying to hurt himself. He is caught in his own web," Kejriwal tweeted. BJP sources said Jaitley had made the personal appearance to "underline" that his intention was "serious".
"Sheila Dikshit (former Congress chief minister) was reviled endlessly by Kejriwal and his colleagues. She erred by not taking them to the cleaners. We won't make that mistake," a source close to Jaitley said.
Pawan Khera, Dikshit's political secretary, had filed a defamation suit against Kejriwal that is still going on. In May 2014, Kejriwal had spent six days in jail after refusing bail in a defamation case moved by BJP leader Nitin Gadkari.
Jaitley, though, appears to face a challenge not just from Kejriwal but also from within the BJP.
Party MP Kirti Azad, the original accuser against Jaitley whose charges were later taken up by Kejriwal, today had his full say in the Lok Sabha, egged on by the Congress and uninterrupted by the treasury benches. He demanded a CBI probe, monitored by a special investigation team. He did not name Jaitley, who was present in the House, but reminded members: "And we know who was heading the DDCA (cricket body) between 2008 and 2013." It was Jaitley.
Kirti later denied charges of acting at the Congress's behest, tweeting: "#outrageous, I took instructions from Cong-I President? We have been fighting since 9 years."
The BJP has not yet signalled any intention to punish Kirti. "The issue (Kirti's role) is too complex to warrant straight action," a general secretary close to party president Amit Shah explained.
Kirti told NDTV this evening: "Why would the BJP take action against me? I have spoken about corruption, not against the party or the government."
He called Jaitley his "leader" and warned the anchor not to "create divisions between us". But in a tweet, Kirti dared Jaitley to sue him.
"Hello dear @arunjaitley ham par defamation file kar rahe ho na? Please karo na (Aren't you filing a defamation suit against me? Please do). Don't take injunction, don't gag freedom of speech," the MP posted.
A senior minister said: "All of us are uncomfortable with what's happening. We had thought the fault lines in our party had vanished after the general election...."
The Delhi BJP, though, mobilised a large crowd outside the Patiala House court in Jaitley's support with the city's MPs in attendance. Six Union ministers - M. Venkaiah Naidu, J.P. Nadda, Smriti Irani, Dharmendra Pradhan, Piyush Goyal and Rajyavardhan Rathore - too turned up at the court, but separately.
Late evening, Shah tried to allay the worries of Jaitley's well-wishers, saying the charges against him were "baseless" and alleging a "conspiracy". He said the party was "united" behind Jaitley. But his first - and belated, some BJP sources felt - defence of Jaitley avoided any allusion to Kirti. BJP sources cited three reasons for this:
• The case relates to a position Jaitley held before he became minister. "It has nothing to do with the BJP or the Narendra Modi government. Why should Shah and Modi put themselves on the line by taking sides?" a source asked.
• Another source explained why the Prime Minister had defended Rajnath Singh when news reports claimed Modi had questioned the conduct of the home minister's son: "That speculation directly concerned the PM; he had to clarify his stand." Similarly, he said, Shah had batted for Sushma Swaraj in the Lalit Modi controversy because it concerned her duties as minister.
• Kirti's claims about following Modi's anti-corruption crusade meant "any action against him will send a bad message".

http://www.telegraphindia.com/1151222/jsp/frontpage/story_59777.jsp#.VnisxFR94gA

An array of Indus Script hieroglyphs to signify mẽṛhẽt, meḍ ‘iron (metal)’ (Munda), med 'copper (metal)' (Slavic)

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An array of Indus Script hieroglyphs to signify mẽṛhẽt, meḍ ‘iron (metal)’ (Munda), med 'copper (metal)' (Slavic) are used in Indus Script Corpora. 

Hieroglyph-multiplexes also signify expressions to specify 'iron or copper (metal) castings or implements'.

Examples of such expressions in Santali, a Meluhha language of Indian sprachbund are as follows:
.med 'copper' (Slavic languages)

Hieroglyphs to signify mẽṛhẽt, meḍ ‘iron (metal)’ (Munda), med 'copper (metal)' (Slavic)

Sign 1 Variants and decipherment are presented on Seal m0304 of a seated person surrounded by tiger, elephant, rhinoceros, buffalor AND 'body' Sign 1 hieroglyph.

Hieroglyph: mē̃d, mēd 'body, womb, back'

Ta. mēṉi body, shape, colour, beauty; mēl body. Ma. mēni body, shape, beauty, excellence; mēl body. Koḍ. me·lï body. Te. mēnuid.; mēni brilliancy, lustre; belonging to the body, bodily, personal. Kol. me·n (pl. me·nḍl) body. Nk. mēn (pl. mēnuḷ) id. Nk. (Ch.) mēn id. Pa. mēn (pl. mēnul) id. Ga. (S.) mēnu (pl. mēngil), (P.) mēn id. Go. (Tr.) mēndur (obl. mēnduḍ-), (A. Y. W. M.) mēndul, (L.)meṇḍū˘l, (SR.) meṇḍol id. (Voc. 2963). Konḍa mēndol human body. Kur. mē̃d, mēd body, womb, back. Malt. méth body. Cf. 5073 Ta.mey. (DEDR 5099)

meḍ(h), meḍhī f., meḍhā ʻ post, forked stake ʼ; meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (See the rope tied to a tiger on Kalibangan terracotta cake found in a fire-altar; kola 'tiger' rebus: kol 'working in iron'; kohle 'smelters'.)

Image result for bijnor octagonal brickBinjor octagonal brick as a skambha, pillar mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), mihomiyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽhmẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. mehmehā ʻ the post ʼ, (SBhagalpur)mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīrmīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛhamehra ʻ a circular construction, mound ʼ; Or. meṛhī,meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.mēthika -- ; mēthiṣṭhá -- . mēthika m. ʻ 17th or lowest cubit from top of sacrificial post ʼ lex. [mēthí -- ]Bi. mẽhiyā ʻ the bullock next the post on threshing floor ʼ.mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ] Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭāmẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10317 to, 10319)

Drummer m1406 d, 'boatman, one who plays drums at ceremonies':  Hieroglyphs: thread of three stands + drummer + tumblers


d 'drummer' rebus:  mẽṛhẽt, meḍ ‘iron (metal)’Alternative: dhollu ‘drummer’ (Western Pahari) dolutsu 'tumble' Rebus: dul ‘cast metal’

karaḍa 'double-drum' Rebus: karaḍa 'hard alloy'.

dhAtu 'strands of rope' Rebus: dhAtu 'mineral, metal, ore'

A kneeling worshipper is seen on seal m1406. Hieroglyph of a worshipper kneeling: Konḍa (BB) meḍa, meṇḍa id. Pe. menḍa 
id. Manḍ. menḍe id. Kui menḍa id. Kuwi (F.) menda, (S. Su. P.) menḍa, (Isr.) meṇḍa id.Ta. maṇṭi kneeling, kneeling on one knee as an archer. Ma.maṇṭuka to be seated on the heels. Ka. maṇḍi what is bent, the knee. Tu. maṇḍi knee. Te. maṇḍĭ̄ kneeling on one knee. Pa.maḍtel knee; maḍi kuḍtel kneeling position. Go. (L.) meṇḍā, (G. Mu. Ma.)  Cf. 4645 Ta.maṭaṅku (maṇi-forms). / ? Cf. Skt. maṇḍūkī- (DEDR 4677) Rebus: meD 'iron' (Ho.)

Thus, the kneeling worshipper hieroglyph may be seen as a phonetic determinative of med'drummer'. rebus:  mẽṛhẽt, meḍ ‘iron (metal)’

Origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).
Ma. <i>mErhE'd</i> `iron'.
Mu. <i>mERE'd</i> `iron'.
  ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).
Ho <i>meD</i> `iron'.
Bj. <i>merhd</i>(Hunter) `iron'.
KW <i>mENhEd</i>
@(V168,M080)
— Slavic glosses for 'copper'
Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
Miedź, med' (Northern Slavic, Altaic) 'copper'.  
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.


Koḍ. me·dë man of caste who make baskets and leaf-umbrellas and play drums at ceremonies; fem. me·di. (DEDR 5092) mēda m. ʻ a mixed caste, any one living by a degrading occupation ʼ Mn. [→ Bal. d ʻ boatman, fisher- man ʼ. -- Cf. Tam. metavar ʻ basket -- maker ʼ &c. DED 4178]Pk. mēa -- m., mēī -- f. ʻ member of a non -- Aryan tribe ʼ; S. meu m. ʻ fisherman ʼ (whence miāṇī f. ʻ a fishery ʼ), L.  m.; P. meũ m., f.meuṇī ʻ boatman ʼ. -- Prob. separate from S. muhāṇo m. ʻ member of a class of Moslem boatmen ʼ, L. mohāṇā m., °ṇī f.(CDIAL 10320)  mēdapāṭa m. ʻ name of a country ʼ Uttamac.Pk. mēvāḍ(h)a -- , mēavāḍaya -- m. ʻ id. ʼ, Marw. mewāṛ.(CDIAL 10321)


meṛhmeṛhāmẽḍhāmẽḍhɔ, mẽḍhā 'ram'. 


See: hieroglyphs signifying varieties of antelopes/goats on an

 


 mēṇḍha2 m. ʻ ram ʼ, °aka -- , mēṇḍa -- 4miṇḍha -- 2°aka -- , mēṭha -- 2mēṇḍhra -- , mēḍhra -- 2°aka -- m. lex. 2. *mēṇṭha- (mēṭha -- m. lex.). 3. *mējjha -- . [r -- forms (which are not attested in NIA.) are due to further sanskritization of a loan -- word prob. of Austro -- as. origin (EWA ii 682 with lit.) and perh. related to the group s.v. bhēḍra -- ]1. Pa. meṇḍa -- m. ʻ ram ʼ, °aka -- ʻ made of a ram's horn (e.g. a bow) ʼ; Pk. meḍḍha -- , meṁḍha -- (°ḍhī -- f.), °ṁḍa -- , miṁḍha -- (°dhiā-- f.), °aga -- m. ʻ ram ʼ, Dm. Gaw. miṇ Kal.

rumb. amŕn/aŕə ʻ sheep ʼ (a -- ?); Bshk. mināˊl ʻ ram ʼ; Tor. miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ; Chil. mindh*ll ʻ ram ʼ AO xviii 244 (dh!), Sv. yēṛo -- miṇ; Phal. miṇḍmiṇ ʻ ram ʼ, miṇḍṓl m. ʻ yearling lamb, gimmer ʼ; P. mẽḍhā m.,°ḍhī f., ludh. mīḍḍhāmī˜ḍhā m.; N. meṛhomeṛo ʻ ram for sacrifice ʼ; A. mersāg ʻ ram ʼ ( -- sāg < *chāgya -- ?), B. meṛā m., °ṛi f., Or.meṇḍhā°ḍā m.,
 °ḍhi f., H. meṛhmeṛhāmẽḍhā m., G. mẽḍhɔ, M. mẽḍhā m., Si. mäḍayā.
2. Pk. meṁṭhī -- f. ʻ sheep ʼ; H. meṭhā m. ʻ ram ʼ.
3. H. mejhukā m. ʻ ram ʼ.
*mēṇḍharūpa -- , mēḍhraśr̥ṅgī -- .
Addenda: mēṇḍha -- 2: A. also mer (phonet. mer) ʻ ram ʼ 

mē̃ḍi, mēḍi 'hind part or handle of a plough':


Ta. mēr̤i plough, plough-tail, handle of a plough; mēr̤iyar agriculturalists. 
Ma. mēr̤i, mēññal ploughtail. Ko. me·y handle of plough. Ka. mēṭi, mēṇi plough-tail. Te. mē̃ḍi, (K.) mēḍi hind part or handle of a plough. Konḍa mēṛi plough handle, plough-tail. Kuwi(F.) mēri plough handle; (Isr.) mēṛi id., plough.(DEDR 5097)(CDIAL 10310)

Hieroglyph-multiplex on a seal: Seated person surrounded by animals and hieroglyphs

These hree hieroglyphs appear in sequence to the left of the seated person: tiger, body, elephant to signify kol 'tiger' rebus: kolhe 'smelter'; meD 'body' rebus: meD 'iron, copper'; karibha 'trunk' ibha 'elephant' rebus: karb 'iron'. To the right of the seated person are rhinoceros and buffalo hieroglyphs to signify kANDa 'rhino' rebus: khANDa 'implements' rango 'buffalo' rebus: rango 'pewter'. Thus, these fiver hieroglyphs together signify metalwork descriptive components of a metalwork catalogue of Indus Script Corpora.



m0304  Mohenjo-daro seal. DK 5175, now in the National Museum of India, New Delhi. Seated person with buffalo horns. 

Head gear: Hieroglyph: taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker'; Hieroglyph: goṇḍe ʻ cluster ʼ (Kannada) Rebus: kuṇḍi-a = village headman; leader of a village (Prakritam)



mũh 'face'; rebus: metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.) 

Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.) The face is depicted with bristles of hair, representing a tiger’s mane. cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883).Rebus: cūḷai 'furnace, kiln, funeral pile' (Te.)(CDIAL 4879; DEDR 2709). Thus the composite glyphic composition: 'bristled (tiger's mane) face' is read rebus as: sodagor mũh cūḷa 'furnace (of) ingot merchant'.

kamarasāla = waist-zone, waist-band, belt (Te.) karmāraśāla = workshop of blacksmith (Skt.) kamar ‘blacksmith’ (Santali) 

The person on platform is seated in penance: kamaḍha 'penance' (Pkt.) Rebus: kammaṭa ‘mint, coiner’ (Malayalam) 

Hieroglyph: arms with bangles: karã̄ n.pl.ʻwristlets, banglesʼ.(Gujarati)(CDIAL 2779) Rebus: khār खार्  'blacksmith' (Kashmiri)

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

Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali.lex.) kuntam 'haystack' (Te.)(DEDR 1236) Rebus: kuṇḍamu 'a pit for receiving and preserving consecrated fire' (Te.)

A pair of hayricks, a pair of antelopes: kundavum = manger, a hayrick (G.) Rebus: kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295) 
Decoding a pair: dula दुल । युग्मम् m. a pair, a couple, esp. of two similar things (Rām. 966) (Kashmiri); dol ‘likeness, picture, form’ (Santali) Rebus: dul ‘to cast metal in a mould’ (Santali) dul meṛeḍ cast iron (Mundari. Santali)
Antelope: miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (G.)(CDIAL 10120); rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Glyph: krammara ‘look back’ (Te.); Rebus: kamar ‘smith’ (Santali) Vikalpa 1: mlekh ‘antelope’(Br.); milakkhu ‘copper’ (Pali) Vikalpa 2: kala stag, buck (Ma.) Rebus: kallan mason (Ma.); kalla glass beads (Ma.); kalu stone (Kond.a); xal id., boulder (Br.)(DEDR 1298). Rebus: kallan ‘stone-bead-maker’.

Thus, together, the glyphs on the base of the platform are decoded rebus:meḍ kamar dul meṛeḍ kũdār,'iron(metal)smith, casting (and) turner'. 
Animal glyphs around the seated person: buffalo, boar (rhinoceros), elephant, tiger (jumping).

 ran:gā ‘buffalo’; ran:ga ‘pewter or alloy of tin (ran:ku), lead (nāga) and antimony (añjana)’(Santali)
kANDa 'rhinoceros' Rebus: khaNDa 'metal implements'
ibha ‘elephant’ (Skt.); rebus: ib ‘iron’ (Santali) karibha ‘trunk of elephant’ (Pali); rebus: karb ‘iron’ (Ka.)
kolo, koleā 'jackal' (Kon.Santali); kola kukur 'white tiger' (A.); dāṭu ‘leap’ (Te.); rebus: kol pañcaloha 'five metals'(Ta.); kol 'furnace, forge' (Kuwi) dāṭu 'jump' (Te.). Rebus: dhātu ‘mineral’ (Skt.) Vikalpa: puṭi 'to jump'; puṭa 'calcining of metals'. Thus the glyph 'jumping tiger' read rebus: 'furnace for calcining of metals'.

Decoding the text of the inscription
Text 2420 on m0304

Line 2 (bottom): 'body' glyph. mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.)

Line 1 (top):

'Body' glyph plus ligature of 'notch' shown between the legs: mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) PLUS


खााडा [ kāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon) (Marathi) Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (Marathi)



Sign 216 (Mahadevan). ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhatu ‘mineral’ (Santali) Vikalpa: erā ‘claws’; Rebus: era ‘copper’. Allograph: kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.) kamat.ha = fig leaf, religiosa (Skt.)

Sign 229. sannī, sannhī = pincers, smith’s vice (P.) śannī f. ʻ small room in a house to keep sheep in ‘ (WPah.) Bshk. šan, Phal.šān ‘roof’ (Bshk.)(CDIAL 12326). seṇi (f.) [Class. Sk. śreṇi in meaning "guild"; Vedic= row] 1. a guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). -- 2. a division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. senā and seniya). (Pali)

Sign 342. kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar’(Skt.) Rebus: karṇaka ‘scribe, accountant’ (Te.); gaṇaka id. (Skt.) (Santali) copper fire-altar scribe (account)(Skt.) Rebus: kaṇḍ ‘fire-altar’ (Santali) Thus, the 'rim of jar' ligatured glyph is read rebus: fire-altar (furnace) scribe (account) karNI 'supercargo' (Marathi)

Sign 344. Ligatured glyph: 'rim of jar' ligature + splinter (infixed); 'rim of jar' ligature is read rebus: kaṇḍa karṇaka 'furnace scribe (account)'. 

sal stake, spike, splinter, thorn, difficulty (H.); Rebus: sal ‘workshop’ (Santali) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93). 2. To move, toss, as a ship; அலைவுறுதல். (R.) 3. To be undecided, vacillating; மனஞ் சுழலுதல். நெஞ்ச மாலைபாய்ந் துள்ள மழிகின்றேன் (அருட்பா,) Vikalpa: sal ‘splinter’; rebus: workshop (sal)’ ālai ‘workshop’ (Ta.) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93) Thus, together with the 'splinter' glyph, the entire ligature 'rim of jar + splinter/splice' is read rebus as: furnace scribe (account workshop). Sign 59. ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) Sign 342. kaṇḍa karṇaka 'rim of jar'; rebus: 'furnace scribe (account)'. Thus the inscription reads rebus: iron, iron (metal) workshop, copper (mineral) guild, fire-altar (furnace) scribe (account workshop), metal furnace scribe (account) As the decoding of m0304 seal demonstrates, the Indus hieroglyphs are the professional repertoire of an artisan (miners'/metalworkers') guild detailing the stone/mineral/metal resources/furnaces/smelters of workshops (smithy/forge/turners' shops). 



 

Mirror: http://tinyurl.com/ofqblnp  Thanks to Benoy Behl for disseminating the photograph of an exquisite gold disc now in al-Sabah collection of Kuwait National Museum. This gold disc is a veritable metalwork catalogue, consistent with the entire Indus Script Corpora as catalogus catalogorum of metalwork.  The uniqueness of the collection of hieroglyph-multiplexs on this gold disc is that a large number of metalwork catalogue items (more than 12) have been presented on a circular space with 9.6 cm diameter validating the Maritime Tin Route which linked Hanoi to Haifa through the Persian Gulf.

"Gold disc. al-Sabah Collection, Kuwait National Museum. 9.6 cm diameter, which was obviously from the Indus Valley period in  India. Typical of that period, it depicts zebu, bulls, human attendants, ibex, fish, partridges, bees, pipal free an animal-headed standard." Benoy K. Behl https://www.facebook.com/BenoyKBehlArtCulture

Source: http://tinyurl.com/nom5kkv
In the context of the bronze-age, the hieroglyphs are read rebus in Meluhha (mleccha) speech as metalware catalogs. 

http://bharatkalyan97.blogspot.in/2013/05/indus-writing-as-metalware-catalogs-and_21.html 
http://bharatkalyan97.blogspot.in/2013/05/tokens-and-bullae-evolve-into-indus.html

See examples of Dilmun seal readings at http://bharatkalyan97.blogspot.in/2013/05/see-httpbharatkalyan97.html 

See examples of Sumer Samarra bowls: http://bharatkalyan97.blogspot.in/2013/04/bronze-age-writing-in-ancient-near-east.html

In this perspective, the hieroglyphs on the Kuwait Museum gold disc can be read rebus:

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

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

3. Ficus religiosa leaves on a tree branch (5) loa 'ficus leaf'; rebus: loh 'metal'. kol in Tamil means pancaloha'alloy of five metals'. PLUS flanking pair of lotus flowers: tAmarasa 'lotus' Rebus: tAmra 'copper' dula 'pair' Rebus: dul 'cast metal' thus, denoting copper castings.

4. A pair of bulls tethered to the tree branch: barad, barat 'ox' Rebus: bharata 'alloy of copper, pewter, tin' (Marathi) PLUS kola 'man' Rebus: kolhe 'smelter' kur.i 'woman' Rebus: kol 'working in iron' Alternative: ḍhangar 'bull'; rebus ḍhangar 'blacksmith' poLa 'zebu' Rebus: poLa 'magnetite'.

Two persons touch the two bulls: meḍ ‘body’ (Mu.) Rebus: meḍ ‘iron’ (Ho.) Thus, the hieroglyph composition denotes ironsmiths.

5. A pair of antelopes looking back: krammara 'look back'; rebus: kamar 'smith' (Santali); tagara 'antelope'; rebus: damgar 'merchant' (Akkadian) Alternative:melh, mr..eka 'goat' (Brahui. Telugu) Rebus: milakkhu 'copper' (Pali), mleccha-mukha 'copper' (Samskritam)

6. A pair of antelopes mē̃ḍh 'antelope, ram'; rebus: mē̃ḍ 'iron' (Mu.) 

7. A pair of combs kāṅga 'comb' Rebus: kanga 'brazier, fireplace'


Phal. kāṅga ʻ combing ʼ in ṣiṣ k° dūm ʻI comb my hairʼ  khyḗṅgiakēṅgī f.;
kaṅghā m. ʻ large comb (Punjabi) káṅkata m. ʻ comb ʼ AV., n. lex., °tī -- , °tikã -- f. lex. 2. *kaṅkaṭa -- 2. 3. *kaṅkaśa -- . [Of doubtful IE. origin WP i 335, EWA i 137: aberrant -- uta -- as well as -- aśa -- replacing -- ata -- in MIA. and NIA.]1. Pk. kaṁkaya -- m. ʻ comb ʼ, kaṁkaya -- , °kaï -- m. ʻ name of a tree ʼ; Gy. eur. kangli f.; Wg. kuṇi -- přũ ʻ man's comb ʼ (for kuṇi -- cf. kuṇälík beside kuṅälíks.v. kr̥muka -- ; -- přũ see prapavaṇa -- ); Bshk. kēṅg ʻ comb ʼ, Gaw. khēṅgīˊ, Sv. khḗṅgiāTor. kyäṅg ʻ comb ʼ (Dard. forms, esp. Gaw., Sv., Phal. but not Sh., prob. ← L. P. type < *kaṅgahiā -- , see 3 below); Sh. kōṅyi̯ f. (→ Ḍ. k*lṅi f.), gil. (Lor.) kōĩ f. ʻ man's comb ʼ, kōũ m. ʻ woman's comb ʼ, pales. kōgō m. ʻ comb ʼ; K. kanguwu m. ʻ man's comb ʼ, kangañ f. ʻ woman's ʼ; WPah. bhad. kãˊkei ʻ a comb -- like fern ʼ, bhal. kãkei f. ʻ comb, plant with comb -- like leaves ʼ; N. kāṅiyokāĩyo ʻ comb ʼ, A. kã̄kai, B. kã̄kui; Or. kaṅkāikaṅkuā ʻ comb ʼ, kakuā ʻ ladder -- like bier for carrying corpse to the burning -- ghat ʼ; Bi. kakwā ʻ comb ʼ, kaka°hī, Mth. kakwā, Aw. lakh. kakawā, Bhoj. kakahī f.; H. kakaiyā ʻ shaped like a comb (of a brick) ʼ; G. (non -- Aryan tribes of Dharampur)kākhāī f. ʻ comb ʼ; M. kaṅkvā m. ʻ comb ʼ, kã̄kaī f. ʻ a partic. shell fish and its shell ʼ; -- S. kaṅgu m. ʻ a partic. kind of small fish ʼ < *kaṅkuta -- ? -- Ext. with --l -- in Ku. kã̄gilokāĩlo ʻ comb ʼ.2. G. (Soraṭh) kã̄gaṛ m. ʻ a weaver's instrument ʼ?3. L. kaṅghī f. ʻ comb, a fish of the perch family ʼ, awāṇ. kaghī ʻ comb ʼ; P. kaṅghā m. ʻ large comb ʼ, °ghī f. ʻ small comb for men, large one for women ʼ (→ H. kaṅghā m. ʻ man's comb ʼ, °gahī°ghī f. ʻ woman's ʼ, kaṅghuā m. ʻ rake or harrow ʼ; Bi. kãga ʻ comb ʼ, Or. kaṅgei, M. kaṅgvā); -- G. kã̄gsī f. ʻ comb ʼ, with metath. kã̄sko m., °kī f.; WPah. khaś. kāgśī, śeu. kāśkī ʻ a comblike fern ʼ or < *kaṅkataśikha -- .WPah.kṭg. kaṅgi f. ʻ comb ʼ; J. kāṅgṛu m. ʻ small comb ʼ.(CDIAL 2598)

Rebus: large furnace, fireplace: kang कंग् । आवसथ्यो &1;ग्निः m. the fire-receptacle or fire-place, kept burning in former times in the courtyard of a Kāshmīrī house for the benefit of guests, etc., and distinct from the three religious domestic fires of a Hindū; (at the present day) a fire-place or brazier lit in the open air on mountain sides, etc., for the sake of warmth or for keeping off wild beasts. nāra-kang, a fire-receptacle; hence, met. a shower of sparks (falling on a person) (Rām. 182). kan:gar `portable furnace' (Kashmiri)Cf. kã̄gürü, which is the fem. of this word in a dim. sense (Gr.Gr. 33, 7). kã̄gürü काँग्् or 
kã̄gürü काँग or kã̄gar काँग््र्् । हसब्तिका f. (sg. dat. kã̄grĕ काँग्र्य or kã̄garĕ काँगर्य, abl. kã̄gri काँग्रि), the portable brazier, or kāngrī, much used in Kashmīr (K.Pr. kángár, 129, 131, 178; káṅgrí, 5, 128, 129). For particulars see El. s.v. kángri; L. 7, 25, kangar;and K.Pr. 129. The word is a fem. dim. of kang, q.v. (Gr.Gr. 37). kã̄gri-khŏphürükã̄gri-khŏphürü काँग्रि-ख्वफ््&above;रू&below; । भग्ना काष्ठाङ्गारिका f. a worn-out brazier. -khôru -खोरु&below; । काष्ठाङ्गारिका<-> र्धभागः m. the outer half (made of woven twigs) of a brazier, remaining after the inner earthenware bowl has been broken or removed; see khôru. -kŏnḍolu -क्वंड । हसन्तिकापात्रम् m. the circular earthenware bowl of a brazier, which contains the burning fuel. -köñü -का&above;ञू&below; । हसन्तिकालता f. the covering of woven twigs outside the earthenware bowl of a brazier.

It is an archaeometallurgical challenge to trace the Maritime Tin Route from the tin belt of the world on Mekong River delta in the Far East and trace the contributions made by seafaring merchants of Meluhha in reaching the tin mineral resource to sustain the Tin-Bronze Age which was a revolution unleashed ca. 5th millennium BCE. See: http://bharatkalyan97.blogspot.in/2015/08/indus-script-corpora-as-catalogus.html

8. A pair of fishes ayo 'fish' (Mu.); rebus: ayo 'metal, iron' (Gujarati); ayas 'metal' (Sanskrit)

9.A pair of buffaloes tethered to a post-standard kāṛā ‘buffalo’ கண்டி kaṇṭi buffalo bull (Tamil); rebus: kaṇḍ 'stone ore'; kāṇḍa ‘tools, pots and pans and metal-ware’; kaṇḍ ‘furnace, fire-altar, consecrated fire’.

10. A pair of birds Rebus 1: kōḍi. [Tel.] n. A fowl, a bird. (Telugu) Rebus: khōṭ ‘alloyed ingots’. Rebus 2: kol ‘the name of a bird, the Indian cuckoo’ (Santali) kol 'iron, smithy, forge'. Rebus 3: baṭa = quail (Santali) Rebus: baṭa = furnace, kiln (Santali) bhrāṣṭra = furnace (Skt.) baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (Gujarati) 

11. The buffaloes, birds flank a post-standard with curved horns on top of a stylized 'eye' PLUS 'eyebrows' with one-horn on either side of two faces

mũh ‘face’; rebus: mũh ‘ingot’ (Mu.) 

ṭhaṭera ‘buffalo horns’. ṭhaṭerā   ‘brass worker’ (Punjabi) 

Pe. kaṇga (pl. -ŋ, kaṇku) eye.  Rebus: kanga ' large portable brazier, fire-place' (Kashmiri).
Thus the stylized standard is read rebus: Hieroglyph components:kanga ṭhaṭerā 'one eye + buffalo horn' Rebus: kanga 'large portable barzier' (Kashmiri) +  ṭhaṭerā   ‘brass worker’ (Punjabi) 

 Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. Ma. kaṇ, kaṇṇu eye, nipple, star in peacock's tail, bud. Ko. kaṇ eye. To. koṇ eye, loop in string.Ka. kaṇ eye, small hole, orifice. Koḍ. kaṇṇï id. Tu. kaṇṇů eye, nipple, star in peacock's feather, rent, tear. Te. kanu, kannu eye, small hole, orifice, mesh of net, eye in peacock's feather. Kol. kan (pl. kanḍl) eye, small hole in ground, cave. Nk. kan (pl. kanḍḷ) eye, spot in peacock's tail. Nk. (Ch.) kan (pl. -l) eye. Pa.(S. only) kan (pl. kanul) eye. Ga. (Oll.) kaṇ (pl. kaṇkul) id.; kaṇul maṭṭa eyebrow; kaṇa (pl. kaṇul) hole; (S.) kanu (pl. kankul) eye. Go. (Tr.) kan (pl.kank) id.; (A.) kaṛ (pl. kaṛk) id. Konḍa kaṇ id. Pe. kaṇga (pl. -ŋ, kaṇku) id. Manḍ. kan (pl. -ke) id. Kui kanu (pl. kan-ga), (K.) kanu (pl. kaṛka) id. Kuwi(F.) kannū (pl. kar&nangle;ka), (S.) kannu (pl. kanka), (Su. P. Isr.) kanu (pl. kaṇka) id. Kur. xann eye, eye of tuber; xannērnā (of newly born babies or animals) to begin to see, have the use of one's eyesight (for ērnā, see 903). Malt. qanu eye. Br. xan id., bud. (DEDR 1159) kāṇá ʻ one -- eyed ʼ RV. Pa. Pk. kāṇa -- ʻ blind of one eye, blind ʼ; Ash. kã̄ṛa°ṛī f. ʻ blind ʼ, Kt. kãŕ, Wg. kŕãmacrdotdot;, Pr. k&schwatildemacr;, Tir. kāˊna, Kho. kāṇu NTS ii 260,kánu BelvalkarVol 91; K. kônu ʻ one -- eyed ʼ, S. kāṇo, L. P. kāṇã̄; WPah. rudh. śeu. kāṇā ʻ blind ʼ; Ku. kāṇo, gng. kã̄&rtodtilde; ʻ blind of one eye ʼ, N. kānu;A. kanā ʻ blind ʼ; B. kāṇā ʻ one -- eyed, blind ʼ; Or. kaṇā, f. kāṇī ʻ one -- eyed ʼ, Mth. kān°nākanahā, Bhoj. kān, f. °nikanwā m. ʻ one -- eyed man ʼ, H. kān,°nā, G. kāṇũ; M. kāṇā ʻ one -- eyed, squint -- eyed ʼ; Si. kaṇa ʻ one -- eyed, blind ʼ. -- Pk. kāṇa -- ʻ full of holes ʼ, G. kāṇũ ʻ full of holes ʼ, n. ʻ hole ʼ (< ʻ empty eyehole ʼ? Cf. ã̄dhḷũ n. ʻ hole ʼ < andhala -- ).S.kcch. kāṇī f.adj. ʻ one -- eyed ʼ; WPah.kṭg. kaṇɔ ʻ blind in one eye ʼ, J. kāṇā; Md. kanu ʻ blind ʼ.(CDIAL 3019) Ko. kāṇso ʻ squint -- eyed ʼ.(Konkani)

Paš. ainċ -- gánik ʻ eyelid ʼ(CDIAL 3999) Phonetic reinforcement of the gloss: Pe. kaṇga (pl. -ŋ, kaṇku) eye. 

See also: nimišta kanag 'to write' (SBal): *nipēśayati ʻ writes ʼ. [√piś] Very doubtful: Kal.rumb. Kho. nivḗš -- ʻ to write ʼ more prob. ← EPers. Morgenstierne BSOS viii 659. <-> Ir. pres. st. *nipaiš -- (for *nipais -- after past *nipišta -- ) in Yid. nuviš -- , Mj. nuvuš -- , Sang. Wkh. nəviš -- ; -- Aś. nipista<-> ← Ir. *nipista -- (for *nipišta -- after pres. *nipais -- ) in SBal. novīsta or nimišta kanag ʻ to write ʼ.(CDIAL 7220)

Alternative: dol ‘eye’; Rebus: dul ‘to cast metal in a mould’ (Santali)Alternative: kandi  ‘hole, opening’ (Ka.)[Note the eye shown as a dotted circle on many Dilmun seals.]kan ‘eye’ (Ka.); rebus: kandi (pl. –l) necklace, beads (Pa.);kaṇḍ 'stone ore' Alternative: kã̄gsī f. ʻcombʼ (Gujarati); rebus 1: kangar ‘portable furnace’ (Kashmiri); rebus 2: kamsa 'bronze'.

khuṇḍ ʻtethering peg or post' (Western Pahari) Rebus: kūṭa ‘workshop’; kuṭi= smelter furnace (Santali); Rebus 2: kuṇḍ 'fire-altar'

Why are animals shown in pairs?

dula ‘pair’ (Kashmiri); rebus: dul ‘cast metal’ (Mu.)

Thus, all the hieroglyphs on the gold disc can be read as Indus writing related to one bronze-age artifact category: metalware catalog entries.
















mēd ‘body’ (Kur.)(DEDR 5099) Rebus: meḍ ‘iron’ (Ho.) खांडा [ khāṇḍām  A jag, notch, or indentation (as upon the edge of a tool or weapon)(Marathi). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi)Thus, meḍ kāṇḍa 'iron implements'.

Ligature: Stool or plank/seat
Sign 43: Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'fire-altar' (Santali) kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) +  kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metals in mint. Thus, fire-altar metalware furnace.

Alternative: PLUS mēd ‘body’ (Kur.)(DEDR 5099) Rebus: meḍ ‘iron’ (Ho.) Thus, meḍ kāṇḍa 'iron implements'.

Ligature: crab, claws 

Sign 36: : mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) Thus, 

meḍ dhātu  'iron ore' 

Alternative Sign 36: kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metals in mint + kamaḍha ‘crab’ Rebus: kammaṭa ‘mint, coiner’. ḍato = claws of crab (Santali) Rebus: dhātu ‘mineral ore’. Thus mineral ore mint, coiner.




kamaḍha
 ‘archer, bow’ Rebus: kammaṭa ‘mint, coiner’. dula 'two' Rebu: dul 'cast metal'. Thus metal castings mint. + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metal castings in mint. Alternative reading could be: mēd ‘body’ (Kur.) Rebus: meḍ ‘iron’ (Ho.) PLUS dul 'cast metal' PLUS  kammaṭa 'mint' Thus, together, cast iron mint.

Similarly, in all the following hieroglyph-multiplexes, the 'body' hieroglyph can be deciphere and explained:as

mēd ‘body’ (Kur.) Rebus: meḍ‘iron’ (Ho.) 

Sign 28: Archer. Ligature one bow-and-arrow hieroglyph
kamaḍha ‘archer, bow’ Rebus: kammaṭa ‘mint, coiner’. + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metals in mint.
Ligature hieroglyph: 'lid of pot'


aḍaren
‘lid of pot’ Rebus: aduru ‘unsmelted, native metal’ + kāṭi 'body stature; Rebus: fireplace trench. Thus furnace for aduru, unsmelted, native metal.Ligatures: water-carrier + lid of pot


Sign 14: kuṭi ‘water-carrier’ Rebus: kuṭhi
‘smelter/furnace’+
kāṭi 'body stature; Rebus: fireplace trench +
aḍaren‘lid of pot’ Rebus: aduru ‘unsmelted, native metal’ + kāṭi 'body stature; Rebus: fireplace trench. Thus furnace for aduru, unsmelted, native metal. Thus, furnace-smelter for unsmelted, native metal.
Ligature: water-carrier
 
Sign 12: kuṭi ‘water-carrier’ Rebus: kuṭhi ‘smelter/furnace’+ kāṭi 'body stature; Rebus: fireplace trench.  Thus, smelter furnace.
 
 Ligatures: water-carrier + notch
 
 
Sign 13: kuṭi ‘water-carrier’ Rebus: kuṭhi ‘smelter/furnace’+ kāṭi 'body stature; Rebus: fireplace trench. +  खांडा [ khāṇḍām  A jag, notch, or indentation (as upon the edge of a tool or weapon)(Marathi). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) + kāṭi 'body stature; Rebus: fireplace trench. + kāṭi 'body =stature; Rebus: fireplace trench. Thus, smelter-furnace metalware.
 
 Ligatures: water-carrier (as in Sign 12) + rim of jar
Ligature: rim of jar Rebus: kanda kanka 'fire-trench account, karṇi supercargo'  Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe.kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214).
 
 
'rim-of-jar' hieroglyph Rebus: kanka  (Santali) karṇika  ‘scribe’(Sanskrit) kuṭi ‘water-carrier’ Rebus: kuṭhi ‘smelter/furnace’.+kāṭi'body stature; Rebus: fireplace trench.  Thus, smelter furnace account, supercargo.
 
Ligature 'two spoked wheels'
 

Spokes-of-wheel, nave-of-wheel āra 'spokes' Rebus: āra ‘brass’. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) Glyph: eraka’nave of wheel’ Rebus: eraka ‘copper’; cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) dula 'two' Rebus: dul 'cast metal'. Thus, moltencast copper castings ++ kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for copper metal castings.

Ligature hieroglyph 'corner'
kanac ‘corner’ Rebus:  kañcu ‘bronze’ + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for bronze castings.
Ligatures: corner + notch
Sign 31: kana, kanac = corner (Santali); Rebus: kañcu = bronze (Telugu) PLUS खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ Thus, bronze metalware. + kāṭi'body stature; Rebus: fireplace trench. Thus, furnace bronze metalware castings.
 Ligature hieroglyph: 'stick' or 'one'
Sign1 Hieroglyph: काठी [ kāṭhī ] f (काष्ट S)  (or शरीराची काठी) The frame or structure of the body: also (viewed by some as arising from the preceding sense, Measuring rod) stature (Marathi) B. kāṭhā ʻ measure of length ʼ(CDIAL 3120).
H. kāṭhī 'wood' f.  G. kāṭh n. ʻ wood ʼ, °ṭhī f. ʻ stick, measure of 5 cubits ʼ(CDIAL 3120). + kāṭi 'body stature; Rebus: fireplace trench.The 'stick' hieroglyph is a phonetic reinforcement of 'body stature' hieroglyph. Alternatively,  koḍ 'one' Rebus:  koḍ 'workshop'+ kāṭi 'body stature; Rebus: fireplace trench.. Thus, workplace of furnace fire-trench.
Rebus: G. kāṭɔṛɔ m. ʻ dross left in the furnace after smelting iron ore ʼ.(CDIAL 2646)
Rebus: kāṭi , n. < U. ghāṭī. 1. Trench of a fort; அகழி. 2. A fireplace in the form of a long ditch; கோட்டையடுப்பு காடியடுப்பு kāṭi-y-aṭuppu , n. < காடி&sup6; +. A fireplace in the form of a long ditch used for cooking on a large scale; கோட்டையடுப்பு.
Rebus: S.kcch. kāṭhī f. ʻ wood ʼPa. Pk. kaṭṭha -- n. ʻ wood ʼ(CDIAL 3120).
Sign 37 Hieroglyph: WPah.kṭg. ṭōṭ ʻ mouth ʼ.WPah.kṭg. thótti f., thótthəṛ m. ʻ snout, mouth ʼ, A. ṭhõt(phonet. thõt) (CDIAL 5853).
Rebus: 
 
tutthá n. (m. lex.), tutthaka -- n. ʻ blue vitriol (used as an eye ointment) ʼ Suśr., tūtaka -- lex. 2. *thōttha -- 4. 3. *tūtta -- . 4. *tōtta -- 2. [Prob. ← Drav. T. Burrow BSOAS xii 381; cf. dhūrta -- 2 n. ʻ iron filings ʼ lex.]1. N. tutho ʻ blue vitriol or sulphate of copper ʼ, B. tuth.2. K. thŏth, dat. °thas m., P. thothā m.3. S.tūtio m., A. tutiyā, B. tũte, Or. tutiā, H. tūtātūtiyā m., M. tutiyā m.
4. M. totā m.(CDIAL 5855) Ka. tukku rust of iron; tutta, tuttu, tutte blue vitriol. Tu. tukků rust; mair(ů)suttu, (Eng.-Tu. Dict.) mairůtuttu blue vitriol. Te. t(r)uppu rust; (SAN) trukku id., verdigris. / Cf. Skt. tuttha- blue vitriol (DEDR 3343).
 
Sign 2: dula 'pair' Rebus: dul 'cast metal' + kāṭi 'body stature; Rebus: fireplace trench. Thus furnace for metal casting.  koḍ 'one' Rebus:  koḍ 'workshop'. Thus, furnace workshop.
Ligature: harrow
Ligatures: harrow + notch (between legs) Allographs: Signs 18, 39
Sign 18: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon)(Marathi). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metalware castings of unsmelted, native metal.
 Ligature component in hieroglyph 'harrow'
 
Sign 19: aḍar 'harrow'; rebus: aduru 'native unsmelted metal’ (Kannada) + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for native metal.
 
Sign 20: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon)(Marathi). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metalware castings of unsmelted, native metal.
  Ligature hieroglyph 'currycomb'
kSign 38: hareḍo = a currycomb (Gujarati) खरारा [ kharārā m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) kharādī ‘ turner’ (Gujarati)  kāṭi 'body stature; Rebus: fireplace trench. Thus, fireplace for hard alloy metal.
 
 Ligature hieroglyph 'foot, anklet'
Sign 40: toṭi bracelet (Tamil)(DEDR 3682). Jaina Skt. (IL 20.193) toḍaka- an
anklet (Sanskrit) khuṭo ʻ leg, foot ʼ, °ṭī ʻ goat's leg ʼ Rebus: khōṭā ‘alloy’ (Marathi) Rebus: tuttha 'copper sulphate' + kāṭi 'body stature; Rebus: fireplace trench. Thus smelted copper sulphate alloy.
Ligature hieroglyph 'rimless pot + ladle'
 
Sign 34:
muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali) baṭa = a kind of iron (G.) baṭa = rimless pot (Kannada) Thus, iron ingot.+ kāṭi 'body stature; Rebus: fireplace trench. Thus, iron ingot furnace.
Ligatures: rimless pot + hollow or ingot
 
Sign 32: baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (G.)kāṭi 'body stature; Rebus: fireplace trench. Thus, iron furnace
Sign 33: As for Sign 32 + dulo 'hole' Rebus: dul 'cast metal' Thus, furnace iron castings.
Ligatures: rimless pot + dance step
Sign 44: meṭ sole of foot, footstep, footprint (Ko.); meṭṭu step, stair, treading, slipper (Te.)(DEDR 1557).  Rebus: meḍ ‘iron’(Munda); मेढ meḍh‘merchant’s helper’(Pkt.)  meḍ  iron (Ho.)  meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) +  kāṭi 'body stature; Rebus: fireplace trench. Thus, iron furnace.
 
Ligatures: rimless pot + wire mesh
 
Sign 35: baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (G.)kāṭi 'body stature; Rebus: fireplace trench + akho m. ʻmesh of a netʼ Rebus: L. P. akkhā m. ʻ one end of a bag or sack thrown over a beast of burden ʼ; Or. akhā ʻ gunny bag ʼ; Bi. ākhā, ã̄khā ʻ grain bag carried by pack animal ʼ; H. ākhā m. ʻ one of a pair of grain bags used as panniers ʼ; M. ã̄khā m. ʻ netting in which coco -- nuts, &c., are carried ʼ, ā̆khẽ n. ʻ half a bullock -- load ʼ (CDIAL 17)  అంకెము [ aṅkemu ] ankemu. [Telugu] n. One pack or pannier, being half a bullock load. Thus, a consignment or packload of furnace iron castings.


 
Ligature: warrior + ficus religiosa
 
Sign 17:  loa ficus religiosa’ Rebus: lo ‘iron’ (Sanskrit) PLUS unique ligatures: लोखंड [lōkhaṇḍa ] n (लोह S) Iron. लोखंडाचे चणे खावविणें or चारणें To oppress grievously.लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.लोखंडी [ lōkhaṇḍī ] a (लोखंड) Composed of iron; relating to iron. (Marathi)bhaṭa ‘warrior’ (Sanskrit) Rebus: baṭa a kind of iron (Gujarati). Rebus: bhaṭa ‘furnace’ (Santali) Thus, together, th ligatured hieroglyph reads rebus: loa bhaṭa ‘iron furnace’


 Ligature 'armed body stature' or 'horned body stature'
 
Sign 8:bhaṭa ‘warrior’ (Sanskrit) Rebus: baṭa a kind of iron (Gujarati). Rebus: bhaṭa ‘furnace’ (Santali) + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for a kind of iron.
Ligatures: two curved lines
 
Sign 9: Read rebus as for Sign 8 PLUS Ligature hieroglyphs of two curved lines
dula 'pair' Rebus: dul 'cast metal + ()kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Sanskrit) +bhaṭa ‘warrior’ (Sanskrit) Rebus: baṭa a kind of iron (Gujarati). Rebus: bhaṭa ‘furnace’ (Santali) + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace bronze castings.
 
 Ligature hieroglyph: 'roof' Allograph: Sign 10

 
Sign 5: mūdh ʻ ridge of roof ʼ (Assamese)(CDIAL 10247) Rebus: mund 'iron' + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for  iron Ligature hieroglyph 'flag'
 
Sign 4: koḍi ‘flag’ (Ta.)(DEDR 2049). Rebus 1: koḍ ‘workshop’ (Kuwi) Rebus 2: khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947). + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace workshop.
 
Sign 16:dula 'two' Rebus: dul 'cast metal' + + kāṭi 'body stature; Rebus: fireplace trench +koḍi ‘summit of mountain' (Tamil). Thus, furnace for metal casting. mēḍu height, rising ground, hillock (Kannada) Rebus: mẽṛhẽt, meḍ ‘iron’ (Munda.Ho.) Thus, iron metal casting. The ligaured hieroglyph of Sign 11 is a ligature with two mountain peaks. Hence dul meḍ ‘iron casting’
 Ligature hieroglyph 'paddy plant' or 'sprout'
 
 
kolmo ‘paddy plant’ Rebus: kolami ‘smithy, forge’ Vikalpa: mogge ‘sprout, bud’ Rebus: mū̃h ‘ingot’ (Santali) dolu ‘plant of shoot height’ Rebus: dul ‘cast metal’ + kāṭi 'body stature; Rebus: fireplace trench. Thus furnace smithy or ingot furnace.
 
Ligature hieroglyph: 'three short strokes on a slanted stroke'

Signs 23, 24: dula 'two' Rebus: dul 'cast metal' dhāḷ ‘a slope’; ‘inclination of a plane’ (G.); ḍhāḷiyum = adj. sloping, inclining (G.) Rebus: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati)  + kāṭi 'body stature; Rebus: fireplace trench' Thus ingot furnace for castings. Three short strokes: kolom 'three' Rebus: kolami 'smithy, forge'. Thus it is a place where artisans work with furnace for metal castings. 
Ligatures: Worshipper + rimless pot + scarf (on pigtail)
 
Signs 45, 46: A variant of ‘adorant’ hieroglyph sign is shown with a ‘rimless, broad-mouthed pot’ which is baṭa read rebus:bhaṭa ‘furnace’. If the ‘pot’ ligature is a phonetic determinant, the gloss for the ‘adorant’ is bhaṭa ‘worshipper’. If the ‘kneeling’ posture is the key hieroglyphic representation, the gloss is eragu ‘bow’ Rebus: erako ‘moltencast copper’. Thus moltencast copper furnace. + dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Western Pahari) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali). Thus Sign 46 read rebus: moltencast copper minerals furnace.
Hieroglyphs: backbone + four short strokes
 
Signs 47, 48: baraḍo = spine; backbone (Tulu) Rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) +
gaṇḍa ‘four’ Rebus: kaṇḍ ‘fire-altar’. Thus, Sign 48 reads rebus: bharat kaṇḍ ‘fire-altar’, furnace for mixed alloy called bharat(copper, zinc, tin alloy),
 
‘Backbone, spine’ hieroglyph: baraḍo = spine; backbone; the back; baraḍo thābaḍavo = lit. to strike on the backbone or back; hence, to encourage; baraḍo bhāre thato = lit. to have a painful backbone, i.e. to do something which will call for a severe beating (Gujarati)bārṇe, bāraṇe = an offering of food to a demon; a meal after fasting, a breakfast (Tulu) barada, barda, birada = a vow (Gujarati)bharaḍo a devotee of S’iva; a man of the bharaḍā caste in the bra_hman.as (Gujarati) baraṛ = name of a caste of jat- around Bhaṭiṇḍa; bararaṇḍā melā = a special fair held in spring (Punjabi) bharāḍ = a religious service or entertainment performed by a bharāḍi_; consisting of singing the praises of some idol or god with playing on the d.aur (drum) and dancing; an order of aṭharā akhād.e = 18 gosāyi_ group; bharād. and bhāratī are two of the 18 orders of gosāyi_ (Marathi).
 
 





https://www.scribd.com/doc/283061975/The-Desinamamala-of-Hemachandra-1938-R-Pischel-Part1

David Cameron, PM of UK, racism is still alive and well in Oxford, UK. Let the statues of Cecil Rhodes and William Jones in Oxford fall

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David Cameron, Prime Minister of UK,

Racism is still alive and well in Oxford, UK. Let the statues of Cecil Rhodes and William Jones in Oxford fall to demonstrate that UK is NOW serious about enforcing the UK's Race Relations Act, after 50 years.


S.Kalyanaraman
Sarasvati Research Center

It was racism at Oxford, not a statue, that made me buckle



Yes, the statue of Cecil Rhodes must fall. But I was a black student at the university, and I know tackling prejudice has to go beyond that
Cecil Rhodes on Oriel College in Oxford
Cecil Rhodes on Oriel College in Oxford. ‘The trickle-down effect of imperialist culture, from its celebrated history to its quiet present, is more oppressive than its symbols.’ Photograph: The Independe/REX/Shutterstock
Tuesday 22 December 2015 
It was a work colleague who first said that he was surprised to hear I had gone to Oxford because I was black. While I had encountered similar reactions before, this was the first time it had been stated so explicitly. The notion that “black” and “Oxbridge” don’t mix is one that seems to go largely unquestioned.
When I heard of the #RhodesMustFall movement in Oxford, it was from an enthusiastic academic urging me to show my support. Rhodes Must Fall is a protest movement that began in the University of Cape Town in South Africa, directing its attention towards the removal of a Cecil Rhodes statue on the campus. It has since gathered momentum within South Africa, and throughout the world. Its intention being to decolonise education, it has largely focused on removing statues and plaques in university spaces that commemorate colonial history. It is a progressive step and an important one – distancing ourselves from the brutality and evil that was colonialism is an action well overdue.


Students attack the Cecil Rhodes statue in the University of Cape Town
Pinterest
 Students attack the Cecil Rhodes statue in the University of Cape Town. Photograph: Rodger Bosch/AFP/Getty Images

But the imperialist structure is not confined to physical structures. As a minority in Oxford, I did not buckle under the oppressive weight of history that took form in the monuments to historical figures. In an English class our tutor followed a discussion of Joseph Conrad’s Heart of Darkness with a video of a comedian speaking with a distinctive Indian accent. After everybody in the room laughed except me, the comedian on the video then explained why to laugh was to mock the Indian individual, at which point everyone in our class proceeded to get angry. I buckled then, sitting silently as a class of opinionated white students declared the racism in Conrad’s novel unworthy of discussion, and derided the comedian’s comments: unconscious bigotry was unworthy of reflection.
A black Rhodes scholar recently wrote an article about his minority experience at Oxbridge. It involved being repeatedly questioned when walking the college grounds and being mistaken for a construction worker on many occasions. When I posted his article to my Facebook page, a former Oxford student of mixed heritage described an experience where she entered a student bar and was immediately dismissed as a potential employee, vying for a chance to serve the students of Oxford.



These are not isolated experiences. I have heard many others, casually relayed as anecdotes by black students. To be mistaken as an employee, to be deemed as something other than a student, is incredibly common for a minority. #RhodesMustFall will do a lot of noisy and symbolic things – but the removal of a plaque or a monument honouring a brutal imperialist won’t insulate minorities from this quieter, more insidious form of imperialism.
Allow me to spell out clearly what these everyday experiences mean. They say repeatedly that Oxford is an institution that accepts a certain calibre of people, and that black people are not intrinsically of that calibre. Blackness is not associated with intellect. More important, blackness is at odds with intellect. Blackness is associated with servitude and thus, upon entering predominantly white establishments, black people are expected to fit into those very roles.



One of the #RhodesMustFall campaigners stated: “There’s a violence to having to walk past the statue every day on the way to your lectures.” But violence is not the only form of oppression. The trickle-down effect of imperialist culture, from its celebrated history to its quiet present, is more oppressive than its symbols. It is more oppressive because the subtlety of its prevalence garners plausible deniability, because unconscious bias and unthinking generalisations are harder to prove and explain. It is easier to dismantle something on the grounds that it is evil in an environment where people strive to be good. It is much harder to tell people who strive to be good that their actions, thoughts and intentions facilitate oppression.
So let the statue fall. But insist that racial prejudice follow. The two movements need not be in competition; we can easily spread our focus. But it needs to be done, and imminently, otherwise Rhodes may fall, but racism will thrive.

http://tinyurl.com/hwc2fwn


Oxford asked to remove the offending panel depicting William Jones and three Indian scholars

University College, Oxford asked to remove the offending panel depicting William Jones and three Indian scholars

By Kalyanaraman

William Jones' third discourse published in 1798 with the famed "philologer" passage is often cited as the beginning of comparative linguistics and Indo-European studies. Indo-European is a family of languages that by 1000 BC were hypothesised as spoken throughout Europe and in parts of southwestern and southern Asia.This is his
quote, claiming to establish a "tremendous" find in the history of linguistics:

The Sanscrit language, whatever be its antiquity, is of a wonderful structure; more perfect than the Greek, more copious than the Latin, and more exquisitely refined than either, yet bearing to both of them a stronger affinity, both in the roots of verbs and the forms of grammar, than could possibly have been produced by accident; so strong indeed, that no philologer could examine them all three, without believing them to have spring from some common source, which, perhaps, no longer exists. (
Sir William Jones, Supreme Court Judge of the British East India Company, 1786, Singer 1972, 29)...

On 27 April 1794 Jones died at Calcutta in the forty-eighth year of his age, and was buried there... the directors of the East IndiaCompany showed their sense of his services by the erection of a monument to him in St. Paul's Cathedral. His wife also placed a monument to his memory, executed by Flaxman (1796-1798), in the
ante-chapel of University College, Oxford.
http://www.eliohs.unifi.it/testi/700/jones/Jones_DNB_article.html

Let us take a look at this Oxford memorial monument. Why is Jones shown in a skull-cap of the type worn by a Pope?
Click
To justify the depiction of the marble frieze in a chapel?

Arindam Chakrabarti, Professor of Philosophy, University of Hawaii, brought to Rajiv Malhotra's attention a colonial wall carving in Oxford which blatantly boasts of the intellectual conquest of Sanskrit by the British.

There is a monument to Sir William Jones, the great eighteenth-century British Orientalist, in the chapel of University College, Oxford. This
marble frieze shows Sir William sitting on a chair writing something down on a desk while three Indian traditional scholars squatting in front of him are either interpreting a text orcontemplating or reflecting on some problem.

It is well known that for years Jones sat at the feet of learned pandits in India to take lessons in Sanskrit grammar, poetics, logic, jurisprudence, and metaphysics. He wrote letters home about howfascinating and yet how complex and demanding was his new learning of these old materials. But this sculpture shows – quite realistically –the Brahmins sitting down below on the floor, slightly crouching and bare-bodied – with no writing implements in their hands (for they knew by heart most of what they were teaching and did not need notes orprinted texts!) while the overdressed Jones sits imperiously on a
chair writing something at a table. The inscription below hails Jones as the "Justinian of India" because he "formed" a digest of Hindu and
Mohammedan laws. The truth is that he translated and interpreted into English a tiny tip of the massive iceberg of ancient Indian
Dharmashastra literature along with some Islamic law books. Yet the monument says and shows Jones to be the "law-giver," and the "native
informer" to be the "receiver of knowledge."

What this amply illustrates is that the semiotics of colonial encounters have – perhaps indelibly – inscribed a profound asymmetry of epistemic prestige upon any future East-West exchange of knowledge.
(Arindam Chakrabarti, "Introduction," Philosophy East & West Volume 51, Number 4 October 2001 449-451.)

See also: Teltscher;and Kate, 1995, India Inscribed : European And British Writing On India 1600 – 1800, Figure 6. Memorial to Sir
William Jones by John Flaxman (1796-8), University College, Oxford.203, New Delhi, Oxford University Press.

It took Rajiv Malhotra nearly two years to locate the marble frieze in a chapel at Oxford, which he had to personally visit to see and then to go through a bureaucratic quagmire to get the picture of it. RajivMalhotra notes: [quote] The picture symbolizes how academic Indians
today often remain under the glass ceiling as "native informants" of the Westerners. Yet in 19th century Europe, Sanskrit was held in great
awe and respect, even while the natives of India were held in contempt or at best in a patronizing manner as children to be raised into their
master's advanced "civilization." [unquote]

Is the display in the chapel of the University College, Oxford a true depiction of William Jones in his true colours – as an evangelist?
[quote] The Bible Is a Wonderful Book because of its literary characteristics. It contains the highest literature of the world. It appeals to the aesthetic and intellectual as well as moral and spiritual faculties... Sir William Jones sums it all up in the following beautiful eulogy: "The Scriptures contain, independently of a divine origin, more true sublimity, more exquisite beauty, purer morality, more important history, and finer strains both of poetry and eloquence, than could be collected, within the same compass, from all other books that were ever composed in any age or in any idiom."[unquote] Click

In the face of this monument, Jones' eulogy on Sanskrit sounds hollow.
Maybe, the scholars who participated in conferences held in Calcutta and Pune in April, 1994 to mark the bicentenary of his death did not
know that this eulogy was only a camouflage for the depiction of a supreme court judge sitting on a high chair and three indian scholars sitting at his feet. The eulogy of Sanskrit didn't last long in the eurocentric studies called IE linguistics with the invention of a hypothetical PIE with *.

The authorities of University College, Oxford should: 1) apologise to Indians for this gross, humiliating, insulting representation of
Indian scholars, on a monument displayed on the walls of the College chapel; and 2) remove the offending marble frieze from display.
Note: I had posted this on July 18, 2005. I am reposting this in the context of a post made reproducing an article by Sistla Lakshmipathy Sastry on Reconstruction of Indian History. http://bharatkalyan97.blogspot.com/2014/09/reconstruction-of-indian-history-sistla.html

http://bharatkalyan97.blogspot.in/2014/09/remove-william-jones-plaque-in-oxford.html

‘Robin Hood’ Firebrand Who Visited Atlanta in August Fires Up Politics at Home in India

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‘Robin Hood’ Firebrand Who Visited Atlanta in August Fires Up Politics at Home in India

Over the years, Dr. Subrahamanian Swamy, a Harvard trained economist, has developed a reputation as a firebrand both in the U.S. and in his native India, and he’s at it again.
Dr. Swamy came to Atlanta in August as a guest of the Global Indian Business Council where he made a jab at U.S. immigration practices of keeping out lower paid Indian workers.
He also underscored his criticism of the National Congress Party, which goes back to the days of Indira Gandhi’s rule when she decreed a state of “emergency” and he escaped detention by fleeing to the U.S.
His opposition to the Gandhi family even predates his presidency of the Janata Party, which merged in 2013 with another political party to form the currently ruling Bharatiya Janata Party under Prime Minister Narendra Modi.
Apparently Dr. Swamy’s feud with the Ghandhis never ends, and this past weekend it bubbled up again due to corruption charges that he has pressed against Sonia and Rahul Gandhi, the inheritors of the political dynasty that ruled India for decades.
Dr. Swamy has portrayed himself as a modern-day Robin Hood bitterly attacking corruption that allegedly became commonplace, he claims, during the years that the Congress Party ruled.
In a sense, he is kicking the Congress Party when it’s down since it suffered a bitter electoral defeat almost two years ago.
But his case alleging Mrs. Gandhi and her son’s control over valuable real estate that belonged to the National Herald, a newspaper that was founded byJawaharlal Nehru, the great-grandfather of Rahul Gandhi, in 1937 and shut down in 2008, failed to pay back enormous outstanding debts for loans that had been extended tax free when the Congress Party ruled.
Global Atlanta asked Subash Razdan, a leader in Atlanta’s Indian community, to provide some clarity to the case which has attracted enormous attention in India.
“In my opinion, this complex scenario has a mix of all ingredients: politics by both political parties, corruption, distraction from the real issues, BJP party trying to undermine the Congress (Party) through proxy, where as Congress (Party) trying to get sympathy from the community by showing itself as a victim of vendetta by BJP in power, in the hopes that their ratings could get better after a dismal election showing in the last general elections,” he wrote back in an e-mail.
What’s drawn so much attention to the case is that it has brought out a coalition of Congress Party supporters rallying around Mrs. Gandhi and her son, and re-energizing it while it continues to lick its wounds from its last electoral defeat.
Meanwhile, the BJP party is being accused of fomenting the controversy. But Mr. Razdan also cited an opposing BJP view.
“When Dr. Swamy filed the suit, Dr. Swamy was not part of the BJP, but in the Janata Party. So the current administration of BJP say they have nothing to do with this when the lawsuit was filed and that Swamy joined the BJP much later and only recently,” he said.
Mr. Razdan added that the BJP claims that the issue should be resolved in the courts and not be used as a political football in the parliament.
As an outside observer, he felt compelled, however, to add:
“The fact remains, the people of India have had enough of absenteeism of the lawmakers from the parliament and need some answers as to what really happened in the National Herald case…be it from the courts or from the parliamentarians, or whoever. Failing which, the good progressive and development projects (being developed) may get put on the back-burner in the crossfire of politics.”
Meanwhile, the Gandhis were granted unconditional bail of 50,000 rupees, or about $754, according to their lawyers, the New York Times of Dec. 20 reported.
http://www.globalatlanta.com/robin-hood-firebrand-who-visited-atlanta-in-august-fires-up-politics-at-home-in-india/

मृदु mṛdu 'iron' (Samskritam), पोळ pōḷa 'magnetite (a ferrite ore)'& related Indus Script hieroglyphs for metalwork catalogues

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Mirror: http://tinyurl.com/gs27dob

There are two glosses in Samskritam which signify मृदु mṛdu 'soft metal of iron' and पोळ pōḷa 'magnetite (a ferrite ore)'.  मृदा--कर [p= 830,2] m. a thunderbolt W.

Schmidt or Schmitz occupational surname in German is cognate with Smith 'blacksmith'. The root embedded is: mṛdu This reinforces the Meluhha lexis glosses mẽṛhẽt, meḍ to signify 'iron, metal' -- together with the Indus Script hieroglyphs deployed to connote these glosses: mẽṛhẽt, meḍ In addition to the hieroglyphs detailed in http://bharatkalyan97.blogspot.in/2015/12/an-array-of-indus-script-hieroglyphs-to.html to additional hieroglyphs which signify the semantics rebus of 'iron, metal' are: 

मेढा (p. 665) [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl. 

Examples of six  मेढा [ mēḍhā ] curls of hair on cylinder seals

Ibni-Sharrum cylinder seal shows a kneeling person with six curls of hair.Cylinder seal of Ibni-sharrum, a scribe of Shar-kali-sharri (left) and impression (right), ca. 2183–2159 B.C.; Akkadian, reign of Shar-kali-sharri.
http://bharatkalyan97.blogspot.in/2013/08/ancient-near-east-bronze-age-heralded.html


baTa 'six' Rebus: bhaTa 'furnace', baTa 'iron'. मेढा [ mēḍhā ] curls Rebus: mẽṛhẽt, meḍ ‘iron (metal)’. Thus, together, iron furnace.
 Four standard-bearers with six curls of hair. http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-jasper-cylinder-seal.html 

Hieroglyph: मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi)  Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Thus, the four Akkadian standard bearers are meḍ bhaṭa iron-furnace metal- workers producing alloy implements, moltencast metalcastings, crucible ingots. The hooded snake reinforces the semantic determinative: kulA 'hooded serpent' Rebus: kolle 'blacksmith' kol 'working in iron'.

The proclamation (sangara) is that four types of furnaces are announced: for aya 'fish' rebus: ayas 'metal'; lokhANDa 'overflowing pot' Rebus: lokhANDa 'metal implements'; arka 'sun' Rebus: eraka 'moltencast copper'; koThAri 'crucible' ebus: Or. koṭhārī ʻ treasurer ʼ; Bhoj. koṭhārī ʻ storekeeper ʼ, H. kuṭhiyārī m. kōṣṭhāgārika -- : G. koṭhārī m. ʻ storekeeper ʼ.(CDIAL 3551)kulA 'hood of serpent' Rebus: kolle 'blacksmith'. Rebus representation is indicated by a determinative: a conical jar containing ingots. Thus, the reference to the 'crucible' may be a message related to ingots of alloys produced from the crucible, the way the traditions evolved to produce crucible steel.


http://bharatkalyan97.blogspot.in/2015/09/spinner-kati-lady-rebus-khati.html

Example of  मेढा [ mēḍhā ]twist (rope) on a Bogazkoy seal


 मेढा [ mēḍhā ] twist Rebus: mẽṛhẽt, meḍ ‘iron (metal)’ dula 'pair' rebus: dul 'cast metal' Thus, cast iron eruvai 'kite, eagle' rebus: eruvai 'copper'
.
Bogazkoy Seal impression: Two-headed eagle, a twisted cord below. From Bogazköy . 18th c. BCE (Museum Ankara). eruvai 'kite' Rebus: eruvai 'copper' dhAtu 'strands of rope' Rebus: dhAtu 'mineral' (Note the three strands of the rope hieroglyph on the seal impression from Bogazkoy; it is read: tridhAtu 'three mineral elements'). It signifies copper compound of three minerals; maybe, arsenic copper? or arsenic bronze, as distinct from tin bronze?

Copper and arsenic ores
Ore nameChemical formula
ArsenopyriteFeAsS
EnargiteCu3AsS4
OliveniteCu2(AsO4)OH
TennantiteCu12As4S13
MalachiteCu2(OH)2CO3
AzuriteCu3(OH)2(CO3)2
Sulfide deposits frequently are a mix of different metal sulfides, such as copper, zinc, silver, lead, arsenic and other metals. (Sphalerite (ZnS2), for example, is not uncommon in copper sulfide deposits, and the metal smelted would be brass, which is both harder and more durable than bronze.)The metals could theoretically be separated out, but the alloys resulting were typically much stronger than the metals individually.
http://bharatkalyan97.blogspot.in/2015/12/evolution-of-brahmi-script-syllable-ma.html?view=timeslide

मेढ (p. 662) [ mēḍha ] The polar star.मेढेमत (p. 665) [ mēḍhēmata ] n (मेढ Polar star, मत Dogma or sect.) A persuasion or an order or a set of tenets and notions amongst the Shúdra-people. Founded upon certain astrological calculations proceeding upon the North star. Hence मेढेजोशी or डौरीजोशी.

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. kuṭi ‘water-carrier’ (Telugu); Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛI f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) मेढ (p. 662) [ mēḍha ] 'polar' star' Rebus: mẽṛhẽt, meḍ 'iron' (Ho.Munda)

मृदु mṛdu '(soft) iron'

मृदु mṛdu : (page 1287A kind of iron.-कार्ष्णायसम्,-कृष्णायसम् soft-iron, lead. (Apte. Samskritam) This gloss could link with the variant lexis of Indian sprachbund with the semantics 'iron': Bj. <i>merhd</i>(Hunter) `iron'. Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).


Origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:

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

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

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

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

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

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

KW <i>mENhEd</i>

@(V168,M080)


پولاد polād, s.m. (6th) The finest kind of steel. Sing. and Pl. See فولاد فولاد folād or fūlād, s.m. (6th) Steel. Sing. and Pl.فولادي folādī or fūlādī, adj. Made of steel, steel. (Pashto)


pŏlād प्वलाद् or phōlād फोलाद् । मृदुलोहविशेषः m. steel (Gr.M.; Rām. 431, 635, phōlād).pŏlödi प्वला&above;दि&below;, pōlödi फोला&above;दि&below;, or phōlödi फोला&above;दि&below; (= । लोहविशेषमयः adj. c.g. of steel, steel (Rām. 19, 974, 167, pōo).(Kashmiri)

http://bharatkalyan97.blogspot.in/2015/08/zebu-archaeometallurgy-legacy-of-india.html?view=timeslide

Nausharo, Mehrgarh: ceramique c. 2500 BCE, C. Jarrige. Nausharo was inhabited later than Mehrgarh, probably first from about 2800 BCE C. Jarrige 

Both hieroglyphs are signified on these pots: zebu and post/stake.

The Prakritam gloss पोळ [pōḷa], 'zebu' as hieroglyph is read rebus: pōḷa, 'magnetite, ferrous-ferric oxide'; poliya 'citizen, gatekeeper of town quarter'. पोळ (p. 534) [ pōḷa ] m A bull dedicated to the gods, marked with a trident and discus, and set at large.पोळा (p. 534) [ pōḷā ] m (पोळ) A festive day for cattle,--the day of new moon of श्रावण or of भाद्रपद. Bullocks are exempted from labor; variously daubed and decorated; and paraded about in worship. Rebus: पोळींव (p. 534) [ pōḷīṃva ] p of पोळणें Burned, scorched, singed, seared.pōḷa, 'magnetite, ferrous-ferric oxide'.

मेड (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake, esp. as bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ) A small bifurcated stake: also a small stake, with or without furcation, used as a post to support a cross piece. मेढ्या (p. 665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person considered as the pillar, prop, or support (of a household, army, or other body), the staff or stay. मेढेजोशी (p. 665) [ mēḍhējōśī ] m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village.मेंधला (p. 665) [ mēndhalā ] m In architecture. A common term for the two upper arms of a double चौकठ (door-frame) connecting the two. Called also मेंढरी & घोडा. It answers to छिली the name of the two lower arms or connections. (Marathi)
मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda) 

S. Kalyanaraman
Sarasvati Research Center
December 23, 2015

Ancient percussion instrument मृदङ्गं = mŗda 'iron' (ferric oxide powder) + anga 'body', metallic timbre traceable to Indus Script Corpora

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Mirror: http://tinyurl.com/zx74efb

A mŗdangam  is an ancient percussion musical intrument which gets its expressive name from the use of  mŗda'iron' (ferric oxide powder) in its anga 'body part'. The word  mŗda 'iron' is represented by hieroglyphs on Indus Script Corpora which are catalogus catalogorum of metalwork.

Bharata's नाट्य शास्त्र, Nāṭyaśāstra with 6000 sutras, in 36 chapters, is dated to ca. 6th century BCE The Natya(I.44) reads, "... I have seen the Kaisiki style during the dance of the blue-throated lord (Shiva). It consists of elaborate gestures (Mridu Angaharas, movements of limbs), sentiments (Rasas), emotional states (Bhavas). Actions (Kriyas) are its soul. The costume should be charmingly beautiful and love (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practise it properly". मृदङ्गं = mŗdanga 'double-drum' is part of the Natya ensemble. 

Bharata Muni uses shruti to mean the interval between two notes such that the difference between them is perceptible. In certain ragas, due to inflexions or gamakas on some of 12 shrutis, listeners perceive a sharpened or flattened version of an existing shruti. 

mŗdangam yields the unique feature of generating a musical timbre of inflexion or gamaka primarily because of the ferrite oxide powder used in the glue on the two goatskin apertures on two sides of the double-drum.

Gamakam are connectors between the notes or swarams. Listen to the demonstration:

https://www.youtube.com/watch?v=S4w30izPVDA

See and listen to the glide on veena to sound gamakams:
https://www.youtube.com/watch?v=02EmrXowyYc

[quote]Bharata formulates jatis, which are classes of melodic structures. These can be further grouped into two gramas—shadja-grama and madhyama-grama. The notes (svaras) are separated by intervals, as measured in shrutis. The shadja-grama is given by the following division: Sa of four shrutis, Ri of three shrutis, Ga of two shrutis, Ma of four shrutis, Pa of four shrutis, Da of three shrutis and Ni of two shrutis. Bharata also describes an experiment to obtain the correct physical configuration of shruti in shadja grama, Sarana Chatushtai. The madhyama-grama is the same, but the panchama (Pa) has to be diminished by one shruti. That is, the panchama of madhyama-grama is lower than that of shadja-grama by one shruti, according to Bharata. Shruti is only mentioned as a perceptual measure in the music of Bharata's time. In both the gramas, Ri is three shrutis away from Sa – there are three perceptible intervals between Sa and Ri. The third of these is called trishruti rishabha (Ri). Likewise, the second interval is called dvishruti rishabha, and the first ekashruti rishabha. Notes nine and 13 shrutis from each other are mutually samvādi (consonant). The notes that are at the distance of two and 20 shrutis are mutually vivādi (dissonant). The remaining ones, at the distance between 2 and 20 shrutis, are called anuvādi (assonant).The shruti table below shows the mathematical ratios considered to correspond to the system described by Bharata and Dattila, along with the comparable notes in common Western 12-TET tuning and comparable notes in 53-TET tuning. The names of the 22 shrutis were provided by Śārñgadeva. [unquote]
The names of the Shrutis as measures of intervas are:
Kṣobhinī
Tīvrā
Kumudvatī
Mandā
Chandovatī
Dayāvatī
Ranjanī
Raktikā
Raudrī
Krodhā
Vajrikā
Prasāriṇī
Prīti
Mārjanī
Kṣiti
Raktā
Sandīpanī
Ālāpinī
Madantī
Rohiṇī
Ramyā
Ugrā
Kṣobhinī

मृदु mṛdu 'soft metal of iron'  मृदा--कर [p= 830,2] vajra, m. a thunderbolt W.  
http://bharatkalyan97.blogspot.in/2015/12/mrdu-iron-samskritam-pola-magnetite.html The glue which is covered on the goatskin apertures of the percussion instrument called mŗdangam is an adamantine glue, vajra composed of मृदु mṛdu, 'ferrite oxide powder'. This glue is what yields the metallic timbre from this ancient instrument of Indian musical tradition.. The name मृदु mṛdangam is thus a reinforcement of the semantics of मृदु mṛdu 'soft metal of iron' which is signified by a number of hieroglyphs on Indus Script Corpora.
"The mŗdangam is a double-sided drum whose body is usually made using a hollowed piece of jackfruit wood about an inch thick. The two mouths or apertures of the drum are covered with a goatskin and laced to each other with leather straps around the circumference of drum. These straps are put into a state of high tension to stretch out the circular membranes on either side of the hull, allowing them to resonate when struck. These two membranes are dissimilar in width to allow for the production of both bass and treble sounds from the same drum.
The bass aperture is known as the thoppi or eda bhaaga and the smaller aperture is known as the valanthalai or bala bhaaga. The smaller membrane, when struck, produces higher pitched sounds with a metallic timbre. The wider aperture produces lower pitched sounds. The goat skin covering the smaller aperture is anointed in the center with a black disk made of rice flour, ferric oxide powder and starch. This black tuning paste is known as the sathamor karanai and gives the mridangam its distinct metallic timbre. The combination of two inhomogeneous circular membranes allows for the production of unique and distinct harmonics. Pioneering work on the mathematics of these harmonics was done by Nobel Prize–winning physicist C. V. Raman." https://en.wikipedia.org/wiki/Mridangam
A double drum of this type is shown on Indus Script Corpora.
m1406
Hieroglyphs: thread of three stands + drummer + tumblers

dhollu ‘drummer’ (Western Pahari) dolutsu 'tumble' Rebus: dul ‘cast metal’

karaḍa 'double-drum' Rebus: karaḍa 'hard alloy'.
karaḍa -- m. ʻsafflowerʼ, °ḍā -- f. ʻ a tree like the karañja ʼ (Prakrit); M. karḍī, °ḍaī f. ʻ safflower, carthamus tinctorius and its seed ʼ. (CDIAL 2788). Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi)  kharādī ' turner, a person who fashions or shapes objects on a lathe' (Gujarati)

मेढा  [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. 3 A twist or tangle arising in thread or cord, a curl or snarl.(Marathi) Rebus: meḍ 'iron, copper' (Munda. Slavic)

dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’

dhAtu 'strands of rope' Rebus: dhAtu 'mineral, metal, ore'

Face of the lapis lazuli seal. http://tinyurl.com/q3xookp

miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
poLa 'zebu' rebus: poLa 'magnetite ore'. Alternative: aḍar ḍangra ‘zebu’ (Santali) Rebus: aduru ‘unsmelted, native metal’; ḍhangar ‘blacksmith’. khũṭ ‘zebu’ Rebus: khũṭ ‘guild’  
dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’ [Semantics reinforced by double-drum hieroglyph: karaḍi ‘double-drum’ Rebus:karaḍa ‘hard alloy’]
karaḍā  ‘embossed knob’ Rebus: karaḍā ‘hard alloy’
Twelve notches: baro‘twelve’ bhārata ‘a factitious alloy of copper, pewter, tin’ (Marathi) dula ‘pair’ Rebus: dul ‘cast metal’.  Thus,  dulbaroi  ‘a pair of twelve numeral count’ Rebus: dul baroi  ‘cast alloy of copper, pewter, tin’
h182A, h182B
The drummer hieroglyph is associated with svastika glyph on this tablet (har609) and also on h182A tablet of Harappa with an identical text.

dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’. The 'drummer' hieroglyph thus announces a cast metal. The technical specifications of the cast metal are further described by other hieroglyphs on side B and on the text of inscription (the text is repeated on both sides of Harappa tablet 182).

kola 'tiger' Rebus: kol 'alloy of five metals, pancaloha' (Tamil). ḍhol ‘drum’ (Gujarati.Marathi)(CDIAL 5608) Rebus: large stone; dul ‘to cast in a mould’. Kanac ‘corner’ Rebus: kancu ‘bronze’. dula 'pair' Rebus: dul 'cast metal'. kanka ‘Rim of jar’ (Santali); karṇaka  rim of jar’(Skt.) Rebus:karṇaka ‘scribe’ (Telugu); gaṇaka id. (Skt.) (Santali) Thus, the tablets denote blacksmith's alloy cast metal accounting including the use of alloying mineral zinc -- satthiya 'svastika' glyph.


The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha brass (i.e. alloy of copper + zinc). Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथ् ।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ् ज़स््थ् ्or zasuth ज़सुथ ्। रप m. (sg. dat. zastas ु ज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter).

*ṭhaṭṭha1 ʻbrassʼ. [Onom. from noise of hammering brass?]N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 1.Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār°rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H.ṭhaṭherā m.(CDIAL 5491, 5493).
http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-indus-script.html

S. Kalyanaraman
Sarasvati Research Center
December 23, 2015

Meluhha lexis. Deciphered 5 Indus Script inscriptions sangāṭas संगाटस् 'collection of implements, tools'

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Meluhha lexis. Deciphered 5 Indus Script inscriptions with drummer-tumbler hieroglyphs: मृदु mṛdu, mẽṛhẽt, meḍ 'metal' sangāṭas संगाटस्'collection of implements, tools'

Five inscriptions from Indus Script Corpora with hieroglyphs of drummer-tumbler are deciphered as metal-work/-implements from smelter/smithy/forge.

Together, the five selected inscriptions from Indus Script Corpora signify mẽṛhẽt, meḍ 'iron or copper (metal)'  sangāṭas संगाटस् 'collection of implements, tools' from smeter/smithy/forge. The context is definitive: affirming Indus Script Corpora as catalogus catalogorum of metalwork.

The deciphered words which signify hieroglyphs and rebus metalwork are from Meluhha lexis.

The decipherment validates the identification of the lingua franca of the Sarasvati-Sindhu civilization as Meluhha (mleccha or spoken form of Prakritam) of Indian sprachbund. This is consistent with the identification in an Akkadian cuneiform text on a cylinder seal of Shu-ilishu who is described as a translator of 'Meluhha language'.

Shu-ilishu’s cylinder seal, Expedition, Vol.  48, No. 1
http://www.penn.museum/documents/publications/expedition/PDFs/481/What%20in%20the%20World.pdf]

This seal shows a sea-faring Meluhha merchant who needed a translator to translate meluhha speech into Akkadian. The translator’s name was Shu-ilishu as recorded in cuneiform script on the seal. This evidence rules out Akkadian as the Indus or Meluhha language and justifies the search for the proto-Indian speech from the region of the Sarasvati river basin which accounts for 80% (about 2000) archaeological sites of the civilization, including sites which have yielded inscribed objects such as Lothal, Dwaraka, Kanmer, Dholavira, Surkotada, Binjor, Kalibangan, Farmana, Bhirrana, Kunal, Banawali, Chandigarh, Rupar, Rakhigarhi. The language-speakers in this basin are likely to have retained cultural memories of Indus language which can be gleaned from the semantic clusters of glosses of the ancient versions of their current lingua francaavailable in comparative lexicons and nighanṭu-s.

See: http://bharatkalyan97.blogspot.in/2015/12/an-array-of-indus-script-hieroglyphs-to.html    A drummer, in the context of hieroglyphs of tumblers on Seal m1406 has been deciphered: d, 'boatman, one who plays drums at ceremonies' Rebus:  mẽṛhẽt, meḍ‘iron (metal)’Alternative: dhollu ‘drummer’ (Western Pahari) dolutsu'tumble' Rebus: dul ‘cast metal’. 

mẽṛhẽt, meḍ ‘iron (metal)’ and a cognate word,मृदु mṛdu 'iron' (Samskritam)is signified by a number of hieroglyphs   मेढा [ mēḍhā ] curls of hair on cylinder seals; मेढा [ mēḍhā ]twist (rope) on a Bogazkoy seal; मेढ (p. 662) [ mēḍha ] The polar star.on Water-carrier seal impression, Ur (Upenn; U.16747.m1406 Hieroglyphs: thread of three stands + drummer + tumblers


dhollu ‘drummer’ (Western Pahari) dolutsu 'tumble' Rebus: dul ‘cast metal’

karaḍa 'double-drum' Rebus: karaḍa'hard alloy'.

dhAtu, dhAv'strands of rope' Rebus: dhAtu'mineral, metal, ore'


Kalibangan seal. k020 Hieroglyphs: thread of three strands + water-carrier + one-horned young bull.  kuTi 'water-carrier' Rebus: kuThi 'smelter'. dhAv 'strands of rope' rebus: dhAv 'element, ore'; dhAtu id. 

kõdā  खोंड [ khōṇḍa ] m A young bull, a bullcalf. (Marathi) Rebus 1: kọ̆nḍu or  konḍu ।  कुण्डम् m. a hole dug in the ground for receiving consecrated fire (Kashmiri) Rebus 2: A. kundār, B. kũdār, °ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, °rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297).

The broken portion of the seal should have shown a 'standard device'.
Image result for indus hieroglyphs lathe portable furnaceHieroglyph: sãghāṛɔ 'lathe'.(Gujarati. Desi)) Purport of Indus Script corpora.Rebus: Vajra Sanghāta 'binding together': Mixture of 8 lead, 2 bell-metal, 1 iron rust constitute adamantine glue. sangāṭh संगाठ् । सामग्री m. (sg. dat. sangāṭas संगाटस्), a collection (of implements, tools, materials, for any object), apparatus, furniture, a collection of the things wanted on a journey, luggage, and so on. -- karun -- करुन् । सामग्रीसंग्रहः m.inf. to collect the ab. (L.V. 17).(Kashmiri)

Examples of acrobats as hieroglyphs:


A set of tumblers (sometimes accompanied by a drummer as on m1406), or persons tossed by the horns of a buffalo is a definitive hieroglyph-multiplex on Indus Script Corpora as seen from the following examples: 


Mehrgarh. Terracotta circular button seal. (Shah, SGM & Parpola, A., 1991, Corpus of Indus Seals and Inscriptions 2: Collections in Pakistan, Helsinki: Suomalainen Tiedeakatemia, MR-17. A humped bull (water buffalo?) and abstract forms (one of which is like a human body) around the bull. The human body is tossed from the horns of the bovine. 




m0312 Persons vaulting over a water buffalo. The water buffalo tosses a person on its horns. Four or five bodies surround the animal. Rounded edges indicate frequent use to create clay seal impressions.








Impression of a steatite stamp seal (2300-1700 BCE) with a water-buffalo and acrobats. Buffalo attack or bull-leaping scene, Banawali (after UMESAO 2000:88, cat. no. 335). A figure is impaled on the horns of the buffalo; a woman acrobat wearing bangles on both arms and a long braid flowing from the head, leaps over the buffalo bull. The action narrative is presented in five frames of the acrobat getting tossed by the horns, jumping and falling down.Two Indus script glyphs are written in front of the buffalo. (ASI BNL 5683).

Rebus readings of hieroglyphs: ‘1. arrow, 2. jag/notch, 3. buffalo, 4.acrobatics’:

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

3. rāngo ‘water buffalo bull’ (Ku.N.)(CDIAL 10559) 

Rebus: rango ‘pewter’. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali).  

4. ḍullu to fall off; ḍollu to roll over (DEDR 2698) Te. ḍul(u)cu, ḍulupu to cause to fall; ḍollu to fall; ḍolligillu to fall or tumble over (DEDR 2988) డొలుచు [ḍolucu] or  ḍoluṭsu. [Tel.] v. n. To tumble head over heels as dancing girls do (Telugu) Rebus 1: dul ‘to cast in a mould’; dul mṛht, dul mee, 'cast iron'; koe mee ‘forged iron’ (Santali) Bshk. ḍōl ʻ brass pot (CDIAL 6583). Rebus 2: WPah. ḍhōˋḷ m. ʻstoneʼ, ḍhòḷṭɔ m. ʻbig stone or boulderʼ, ḍhòḷṭu ʻsmall id.ʼ Him.I 87(CDIAL 5536). Rebus: K. ḍula m. ʻ rolling stoneʼ(CDIAL 6582). 

Hieroglyph:  धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu  *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) tántu m. ʻ thread, warp ʼ RV. [√tan] Pa. tantu -- m. ʻ thread, cord ʼ, Pk. taṁtu -- m.; Kho. (Lor.) ton ʻ warp ʼ < *tand (whence tandeni ʻ thread between wings of spinning wheel ʼ); S. tandu f. ʻ gold or silver thread ʼ; L. tand (pl. °dũ) f. ʻ yarn, thread being spun, string of the tongue ʼ; P. tand m. ʻ thread ʼ, tanduā°dūā m. ʻ string of the tongue, frenum of glans penis ʼ; A. tã̄t ʻ warp in the loom, cloth being woven ʼ; B. tã̄t ʻ cord ʼ; M. tã̄tū m. ʻ thread ʼ; Si. tatu°ta ʻ string of a lute ʼ; -- with -- o, -- ā to retain orig. gender: S. tando m. ʻ cord, twine, strand of rope ʼ; N. tã̄do ʻ bowstring ʼ; H. tã̄tā m. ʻ series, line ʼ; G. tã̄tɔ m. ʻ thread ʼ; -- OG. tāṁtaṇaü m. ʻ thread ʼ < *tāṁtaḍaü, G.tã̄tṇɔ m.(CDIAL 5661)

Rebus: M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; (CDIAL 6773) धातु  primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]) (Monier-Williams. Samskritam). 

मृदु mṛdu : (page 1287A kind of iron.-कार्ष्णायसम्,-कृष्णायसम् soft-iron, lead. (Apte. Samskritam) This gloss could link with the variant lexis of Indian sprachbund with the semantics 'iron': Bj. <i>merhd</i>(Hunter) `iron'. Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).
.med 'copper' (Slavic languages)
Origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).
Ma. <i>mErhE'd</i> `iron'.
Mu. <i>mERE'd</i> `iron'.
  ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).
Ho <i>meD</i> `iron'.
Bj. <i>merhd</i>(Hunter) `iron'.
KW <i>mENhEd</i>
@(V168,M080)
— Slavic glosses for 'copper'
Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
Miedź, med' (Northern Slavic, Altaic) 'copper'.  
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.




http://bharatkalyan97.blogspot.in/2015/12/mrdu-iron-samskritam-pola-magnetite.html

S. Kalyanaraman
Sarasvati Research Center
December 23, 2015

NH Order: 'Direct all accused shall appear before Court diligently on each hearing' Full txt. exposes Congi lies & MSM recycling

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  1. Embedded image permalink
  2. Thanks to Social Media have put out entire order in previous tweet, Media misreporting stands exposed.

  3. National Herald order- 1)no where says opposed bail 2)DIRECTS ALL ACCUSED APPEAR ALL HEARINGS 3)Documentary evidence (fast trial)
  4. : Now you PTs know how much lying Congis do and MSM recycles it.
Order in National Herald- "DIRECT ALL ACCUSED SHALL APPEAR Before Court DILIGENTLY ON Each HEARING"
Embedded image permalink

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Ayutha Chandi Yagam by KCR begins in Medak Dist. जीवेम शरदः शतम्, కెసిఆర్ గారు

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Published: December 23, 2015 13:34 IST | Updated: December 23, 2015 13:34 IST  

Ayutha Chandi Yagam by KCR begins in Medak Dist.



  • A.P. and Telangana Governor E.S.L. Narasimhan arriving at the Ayutha Chandi Yagam venue at Erravalli in Medak District on Wednesday, Photo: Mohd. Arif
    The Hindu
    A.P. and Telangana Governor E.S.L. Narasimhan arriving at the Ayutha Chandi Yagam venue at Erravalli in Medak District on Wednesday, Photo: Mohd. Arif
  • Ayutha Chandi Yagam commenced at Erravalli village in Jagadevpur mandal of Medak District on Wednesday. Photo: Mohd. Arif
    The Hindu
    Ayutha Chandi Yagam commenced at Erravalli village in Jagadevpur mandal of Medak District on Wednesday. Photo: Mohd. Arif

Governor ELS Narasimhan along with his wife arrived here and participated in Yaga Prarambha pooja. Both the couples sat side by side and performed Ganapathi pooja.

The Ayutha Chandi Yagam commenced at this village in Jagadevpur mandal of Medak District at the auspicious time on Wednesday. Telangana Chief Minister K. Chandrasekhar Rao along with his wife Shobha, daughter Kavitha and grandsons entered the Yagashala at 8.35 a.m.
Governor E.S.L. Narasimhan along with his wife arrived also participated in Yaga Prarambha pooja. Both the couples sat side by side and performed Ganapathi pooja, that is performed as a prelude to any major programme in Hindu tradition.
Later, the ritviks were divided into two sections - one for recitation of mantras (parayana) before 100 homagundas. Others were asked to perform Rudra Yagam.
At each homagundam 11 ritviks - four from Telugu, three from Kannada and three from Maratha sat in the South to North direction and chanted Chandi Saptashati.
Describing this Chandi Yagam as never before in the past 200 years by any ruler, Sringeri Mutt representative Gouri Shankar said that like Dharma Raja in Mahabharata had created a new world for performing yagam, this was also being done.
"It seems even Mysore Maharaja dynasty has never thought of this yagam on this scale. Mr. Chandrasekhar Rao was performing this for the well being of entire humanity. The democratically elected leader is seeking the blessings of Goddess Chandi to bless the people," said Gouri Shankar.

Ministers T. Harish Rao, Pocharam Srinivas Reddy, G. Jagadeeswara Reddy and others attended the yagam. Tight security was arranged around yagashala. Large number of people arrived at the venue and witnessed yagam from very close proximity on a gaint LCD screen erected.

http://www.thehindu.com/news/national/telangana/ayutha-chandiyagam-by-kcr-begins-in-medak-dist/article8021616.ece?css=print

KCR’s solution for Telangana drought: ‘Rs 15 crore’ on ‘Maha Yagnam’

KCR, KCR telangana drought, KCR yagnaThis is the second time that KCR is organizing such a ritual in favour of Telangana; he had organized the same yagna, but on a low key in May 2011, to pray for the early formation of Telangana. (Source: Express Photo)
Opposition parties are slamming Telangana Chief Minister K Chandrasekhara Rao for spending crores on performing a religious ritual called ‘Ayutha Chandi Maha Yagnam’ aimed to appease the gods as Telangana faces drought-like situation due to scanty rainfall. KCR and his family members maintain that it is strictly a personal affair which is being done for the benefit of Telangana, and it is being funded by KCR and his family, and party leaders and well-wishers who contributed money to perform the ‘yagna’, which is said to be the biggest ever.
“Telangana Government is not funding this event. It is personal and the expenses are being borne by KCR, his party members and friends but they have invited everyone to witness the event and be a part of it,” K Kavita, MP, and KCR’s daughter said.
The ‘yagna’ started today morning at KCR’s farmhouse at Eravelli village in Medak district, 60 kms from Hyderabad.  A huge ornamental tent has been erected over several inside where 1100 priests will chant ‘mantras’ 10,000 times over five days. Many priests have come from the famous Sringeri peetham, Karnataka.
This is the second time that KCR is organizing such a ritual in favour of Telangana; he had organized the same yagna, but on a low key in May 2011, to pray for the early formation of Telangana.
kcr3(Source: Express Photo)
KCR is learnt to have told his party leaders that the yagna being performed now will bring good fortune and mitigate the sufferings of the farmers. However, this time the sheer size and scale of the event has attracted criticism from Opposition parties which are accusing the CM of resorting to religious rituals while an agrarian crisis has hit the state with farmers committing suicide, and 55 per cent of the mandals in the state are facing water shortage. KCR hired choppers and chartered planes to personally fly down to invite Prime Minister Narendra Modi, AP Chief Minister N Chandrababu Naidu,  Sri Sri Ravi Shankar, religious heads and seers of various peethams, and a number of VVIPs. Nearly 2,000 police personnel have been deployed at various places to control the crowds and ensure that the event goes on smoothly.
“Religious belief is a personal thing and one can do whatever he or he wants to do in a personal capacity but what is the need to spend so many crores when the so-called richest state of India is hit by agrarian crisis and farmers are committing suicide. This season, 231 mandals, that is 55 per cent of the state, is facing a drought-like situation. There is no drinking water let alone irrigation. Farmers are in dire straits. Ideally the CM should be meeting farmers and giving them courage to see through this season instead of committing suicide. Instead, he is performing rituals hoping that it would solve the problem. I am told some Rs 15 crores is being spent on the event. Is it necessary, even if KCR and his friends are paying from their pockets? Instead, the money could have been given to the families of farmers who have committed suicide, or those who are on the verge of bankruptcy,’’ said Opposition leader in the Telangana Legislative Council Shabbir Ali of the Congress.
“KCR is claiming that he is not spending government money. But you look at the number of security personnel posted for the event, the number of official vehicles that are in use by ministers, MLAs, MPs, and others. The VVIPs and VIPs who will attend the event will all use government resources. Are these expenses factored in?,’’ Ali said.
President Pranab Mukherjee, who is on his Southern Sojourn, Union Ministers Venkaiah Naidu, Bandaru Dattatreya, and others are expected to visit the event over the next four days. On the first day today, Governor ESL Narasimhan and his wife sat beside KCR and his wife when the yagna began.
“So much money is being spent on this. KCR has all the time for these kind of things but he has no time to meet farmers who are in distress or do something for them,’’ says a livid CPI General Secretary S Sudhakar Reddy.
While 1100 priests will chant the prayers, at least 150 cooks have been hired to prepare meals for nearly 50,000 people who are expected to attend the event till December 27. To design and decorate the tents, art directors and event managers have been hired.
KCR and his family members have already brushed aside the criticism stating that things have been blown out of proportion especially the expenditure.
“It will cost Rs 5 to 6 crores and no money is being spent by government. All the expenses are being borne by me and my well wishes,” KCR said, when he announced his intention to conduct the ritual.
“Donors and friends are arranging everything needed for his event. I strongly believe in God and rituals and I think criticizing what I believe in is unfair. During the statehood agitation I had taken a vow that if separate state was formed, I will perform the Ayutha Chandi Maha Yagnam. I fulfilling it now and it is my personal issue,” KCR said.

The making of India -- KS Valdiya Springer Publication in Society of Earth Scientists Series (2015)

'My suspension is bad for the party, not me' -- Kirti Azad. NaMo, nationalise kaalaadhan.

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Party strikes, Kirti snarls

Thursday , December 24 , 2015
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Kirti Azad outside Parliament on Wednesday. Picture by Prem Singh My suspension is bad for the party, not me - Kirti Azad
New Delhi, Dec. 23: The BJP today suspended MP Kirti Azad, who has for the past week tormented Arun Jaitley by first levelling corruption charges against the finance minister and then daring him to hit back.
The decision was announced in the evening in a one-line release issued by the party and signed by general secretary Arun Singh. It said: "Because of anti-party activities, Shri Kirti Azad, Darbhanga MP, is suspended from the party with immediate effect."
Earlier today, Jaitley appeared to breathe easy after days. He hosted a session-end lunch in his chamber in Parliament for NDA MPs and journalists. The Rajasthani spread, carted from Jaipur, was organised within hours by the BJP's Rajya Sabha MP, Ajay Sancheti.
Kirti had left for Ahmedabad in the morning, possibly anticipating the action. "Wait and watch what I do next. Now I will tell everyone," he told PTI later.
The Darbhanga MP has for years been alleging financial irregularities in the Delhi and District Cricket Association, helmed by Jaitley from 2000 to 2013, but the controversy blew up after Delhi chief minister Arvind Kejriwal last Tuesday alleged that the CBI had come looking for the DDCA probe file when it raided his principal secretary.
As Prime Minister Narendra Modi and BJP president Amit Shah took their time to weigh the fallout of cracking down on Kirti, who held a news conference on Sunday and had his say in Parliament on Monday, Jaitley sought a final resolution of the dispute.
Madhya Pradesh chief minister Shivraj Singh Chouhan and former Bihar deputy chief minister Sushil Modi lent their voices in support of the finance minister.
Modi and Shah were pressured to bite the bullet before the Prime Minister left for Russia, sources said.
The BJP had taken no note of Kirti's news conference, at which he levelled 52 charges, other than to say that the charges were "baseless".
What spurred Jaitley and his backers to demand immediate action were two developments this week: first, Kirti's intervention in the Lok Sabha in Jaitley's presence when he called for a probe into the DDCA controversy by a special investigation team. BJP sources alleged the Congress benches had egged him on.
WHO ELSE JAITLEY SHOULD WATCH OUT FOR

The second was a tweet calling Jaitley "impotent" and another daring the finance minister to drag Kirti to court. The MP disowned the first tweet, claiming his account had been hacked.
"Jaitley fumed and demanded that the party should not keep quiet any longer. He is set to present the general budget in two months," a source said.
Party chief Shah spoke up for Jaitley the same day that Kirti spoke in the House, but gave no hint that he would crack the whip on the cricketer-politician.
Yesterday, Prime Minister Modi had broken his silence on Jaitley at a BJP parliamentary party meeting and said that just as L.K. Advani had emerged "pure" from the hawala money-laundering case in 1996-98, the finance minister would come out of the DDCA controversy "unblemished". Again there was no word on Kirti, who at his news conference had said he was inspired by Modi's campaign against corruption.
"My suspension is bad for the party, not me. I have worked honourably for the party but I was branded anti-party," Kirti was quoted as saying today. He claimed due process was not followed in his suspension.
He dared the leadership to "prove what conspiracy I have entered into with Sonia Gandhi" and maintained he had never called Jaitley a "thief".
The BJP brass has of late been pilloried by its MPs. Those from Bihar had become vocal after the party lost the Assembly polls. Apart from Kirti, the others were Shatrughan Sinha, R.K. Singh and Bhola Singh. But the leaders "ignored" them.
Sinha, not known to be close to Kirti, counselled the BJP on Twitter to "avoid knee jerk reaction/coercive action against friend who's fighting against corruption".
"Have often quoted Newtons 3rd law. Feel that untimely action cud boomerang. Sadly, party with a difference (an old BJP slogan) has become party with differences," he tweeted.
BJP sources denied that Sinha was next in the line for a notice. "There is no move yet," a general secretary said.

kamaḍha 'penance', an Indus Script hieroglyph on 16 Ancient Near East inscriptions signifies kammaṭa 'mint, coiner'

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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’.
kAru 'crocodile' Rebus: kAru 'artisan'.


Hieroglyphs (allographs): 
kamaḍha 'penance' (Prakriam) 
kamḍa, khamḍa 'copulation' (Santali)
kamaṭha crab (Skt.)
kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.)  kamat.ha = fig leaf, religiosa (Sanskrit) kamaḍha = ficus religiosa (Sanskrit)
kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Sanskrit) 
Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil)

Glyph: meD 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) meṭṭu to tread, trample, crush under foot, tread or place the foot upon (Te.); meṭṭu step (Ga.); mettunga steps (Ga.). maḍye to trample, tread (Malt.)(DEDR 5057) మెట్టు (p. 1027) [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు. "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu)
Rebus: meD 'iron' (Mundari. Remo.)



Tepe Yahya. Seal impressions of two sides of a seal. Six-legged lizard and opposing footprints shown on opposing sides of a double-sided steatite stamp seal perforated along the lateral axis. Lamberg- Karlovsky 1971: fig. 2C Shahr-i-Soktha Stamp seal shaped like a foot.

Glyph: aṭi foot, footprint (Tamil) Rebus: aḍe, aḍa, aḍi the piece of wood on which the five artisans put the article which they happen to operate upon, a support (Kannada)


Glyph: araṇe 'lizard' (Tulu) eraṇi f. ʻ anvil ʼ (Gujarati); aheraṇ, ahiraṇ, airaṇ, airṇī, haraṇ f. (Marathi) அரணை Ta. araṇai typical lizard, Lacertidae; smooth streaked lizard, Lacerta interpunctula. Ma. araṇa green house lizard, L. interpunctula. Ka. araṇe, rāṇe, rāṇi greenish kind of lizard which is said to poison by licking, L. interpunctula. Tu. araṇe id. (DEDR 204).

Glyph: bhaṭa ‘six’ (G.) rebus: baṭa = kiln (Santali) baṭa = a kind of iron (Gujarati)  [Note: six legs shown on the lizard glyph]

The rebus readings are: aḍi 'anvil' airaṇ 'anvil' (for use in) baṭa 'iron working' or kiln/furnace-work.
bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj] Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v. S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.(CDIAL 9656). kolmo ‘three’ (Mu.); rebus: kolami ‘smithy’ (Telugu) కొలిమి [ kolimi ] kolimi. [Tel.] n. A pit. A fire pit or furnace. ముద్దకొలిమి a smelting forge. నీళ్లకొలిమి a reservoir. కొలిమిత్తిత్తి a pair of bellows.(Telugu) పట్టడ [ paṭṭaḍa ] paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు.(Telugu) Glyph: S. baṭhu m. ‘large pot in which grain is parched; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼM. bhaṭṭā m. ʻ pot of fire ʼ(CDIAL 9656). Glyph: bhaṭa ‘six’ (G.) rebus: baṭa = kiln (Santali); bhaṭṭī f. ʻ forge ʼ(Marathi)(CDIAL 9656). baṭa = a kind of iron (G.) bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits) baṭa = furnace (Santali) bhrāṣṭra = furnace (Skt.) bhaṭa ‘furnace’ (G.) baṭhī f. ʻ distilling furnace' (Sindhi)
h-155. Crab with six legs
 Seal M-1104 Six legs ligatured to a pincer.


                                                                       



Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro (DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA 1994:Fig. 10.9); courtesy of the Archaeological Survey of India; c. horned deity surrounded by animals, Mohenjo-daro (JOSHI – PARPOLA 1987:M-304); courtesy of the Archaeological Survey of India.

ṭhaṭera 'buffalo horns'. Rebus: ṭhaṭerā 'brass worker'
meḍha 'polar star' (Marathi). Rebus: meḍ 'iron' (Ho.Mu.)

kamadha 'penance' Rebus: kammata 'coiner, mint'
karã̄ n. pl. wristlets, banglesRebus: khAr 'blacksmith, iron worker'
rango 'buffalo' Rebus:rango 'pewter' 
kari 'elephant' ibha 'elephant' Rebus: karba 'iron' ib 'iron'
kola 'tiger' Rebus: kol 'working in iron'
gaNDA 'rhinoceros' Rebus: kaNDa 'im;lements'
mlekh 'antelope, goat' Rebus: milakkha 'copper'
meD 'body' Rebus: meD 'iron''copper'
dhatu 'scarf' Rebus: dhatu 'mineral 

m453B. Scarf as pigtail of seated person.Kneeling adorant and serpent on the field.


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


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


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


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


Proto-Elamite seal impressions, Susa. Seated bulls in penance posture. (After Amiet 1980: nos. 581, 582).
Hieroglyph: kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint'
Hieroglyph: dhanga 'mountain range' Rebus: dhangar 'blacksmith'
Hieroglyph: rango 'buffalo' Rebus: rango 'pewter'.

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

Seven bangles are depicted on the left arm and six on the right, with the hands resting on the knees. The heels are pressed together under the groin and the feet project beyond the edge of the throne. The feet of the throne are carved with the hoof of a bovine as is seen on the bull and unicorn seals. The seal may not have been fired, but the stone is very hard. A grooved and perforated boss is present on the back of the seal.
Material: tan steatite Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050
Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222 
kūdī 'bunch of twigs' (Sanskrit)  Rebus: kuṭhi 'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ईAV. v , 19 , 12 Kaus3.ccord. to Kaus3. Sch. = बदरी, "Christ's thorn".(Monier-Williams)
Hieroglyph: kamaḍha ‘penance’ (Pkt.) Rebus 1: kampaṭṭa  ‘mint’ (Ma.) kamaṭa = portable furnace for melting precious metals (Te.);Rebus 2: kaṇḍa ‘fire-altar' (Santali); kan ‘copper’ (Ta.)  

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

Mahadevan concordance Field Symbol 83: Person wearing a diadem or tall
head-dress standing within an ornamented arch; there are two stars on either


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

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

Image result for jujube twigZiziphur Jojoba, badari twig

kūdī ‘twig’ Rebus: kuṭhi ‘smelter’. The two ibexes + twig hieroglyhs, thus, connote a metal merchant/artisan with a smelter. The bunch of twigs = kūdi_, kūṭī  (Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kauśika Sūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177). Rebus: kuṭhi ‘smelter furnace’ (Santali)

 This hieroglyph multiplex ligatures head of an antelope to a snake: nAga 'snake' Rebus: nAga 'lead' ranku 'antelope' Rebus: ranku 'tin'.  tuttināgamu is a Prakritam gloss meaning 'pewter, zinc'. A comparable alloy may be indicated by the hieroglyph-multiplex of antelope-snake: rankunAga, perhaps a type of zinc or lead alloy.

Two fish hieroglyphs flank the hoofed legs of the stool or platform signify: warehouse of cast metal alloy metal implements: 

Hieroglyph: kaṇḍō a stool Rebus: kanda 'implements'
Hieroglyph: maṇḍā 'raised platform, stool' Rebus: maṇḍā 'warehouse'.

dula 'pair' Rebus: dul 'cast metal'
ayo 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)
barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.(Marathi). 

This mkultiplx is flanked by 1. kolom 'rice plant' Rebus: kolimi 'smithy, forge'; 2. kuTi 'tree' Rebus: kuThi 'smeter'. Thus the message is that the warehouse of cast metal alloy metal implements is complemented by a smelter and a smithy/forge -- part of the metalwork repertoire.

The hieroglyph-multiplex of a woman thwarting two rearing tigers is also signified on other seals and tablets to signify:

Hieroglyph: kola 'woman' Rebus: kol 'working in iron'
dula 'pair' Rebus: dul 'cast metal' PLUS kola 'tiger' Rebus: kolle 'blacksmith'; kolhe 'smeter'; kole.l 'smithy, forge'. The kolmo 'rice-plant' Rebus kolimi 'smithy, forge' is a semantic determinant of the cipher: smithy with smelter.

The bottom register of the cylinder seal impression lists the products: smithy/forge forged iron, alloy castings (laterite PLUS spelter), hard alloy implements.

goTa 'roundish stone' Rebus: gota 'laterite'
dula 'pair' Rebus: dul 'cast metal' PLUS rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. Thus, cast spelter PLUS laterite.

markhor PLUS tail

miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) koṭe meṛed = forged iron, in contrast to dul meṛed, cast iron (Mundari) PLUS Kur. xolā tailMalt. qoli id. (DEDR 2135) Rebus: kol 'working in iron' Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. 

Rhinoceros PLUS aquatic bird


Hieroglyhph: kāṇṭā 'rhinoceros. gaṇḍá m. ʻ rhinoceros ʼ Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (Gujarati)

karaṛa 'large aquatic bird' (Sindhi) Rebus: karaḍā 'hardalloy of metals' (Marathi) 

Impression of an Indus-style cylinder seal of unknown Near Eastern origin in the Musee du Louvre, Paris. One of the two anthropomorphic figures carved on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs, surrounded by snakes, fishes and water buffaloes. Copyrighted photo by M. Chuzeville for the Departement des antiquites orientales, Musee du Louvre.
Impression. Unknown Near Eastern origin. 'One of the two anthropomorphic figures carved on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs, surrounded by snakes, fishes and water buffaloes. Photo by M Chuzeville for Departement des antiquities orientales, Musee du Louvre.' (Parpola, 1998, 2001) http://www.harappa.com/script/parpola0.html (Note 11)

Two water-buffalos flanks a hieroglyph: something round, like a seed. Hieroglyph: rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. What does the hieroglyph 'something round' signify? I suggest that it signifies goTa 'laterite (ferrous ore)'.

All these hieroglyhphs/hieroglyph-multiplexes are read as metalwork catalogue items in Prakritam which had tadbhava, tatsama identified in Samskritam in Indian sprachbund (speech union).
m0478b tablet

erga = act of clearing jungle (Kui) [Note image showing two men carrying 
uprooted trees] thwarted by a person in the middle with outstretched hands

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) ḍhaṁkhara — m.n. ʻbranch without leaves or fruitʼ (Prakrit) (CDIAL 5524)

Hieroglyph: 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.)

kuTi 'tree' Rebus: kuṭhi = (smelter) furnace (Santali) 

heraka = spy (Skt.); eraka, hero = a messenger; a spy (Gujarati); er to look at or for (Pkt.); er uk- to play 'peeping tom' (Ko.) Rebus: 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.) eraka ‘copper’ (Kannada) 

kōṭu  branch of tree, Rebus: खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. 

Hieroglyph: Looking back: krammara 'look back' (Telugu) kamar 'smith, artisan' (Santali)

kola ‘tiger, jackal’ (Kon.); rebus: kol working in iron, blacksmith, ‘alloy of five metals, panchaloha’ (Tamil) kol ‘furnace, forge’ (Kuwi) kolami ‘smithy’ (Telugu) 

^  Inverted V, m478 (lid above rim of narrow-necked jar) The rimmed jar next to the tiger with turned head has a lid. Lid ‘ad.aren’; rebus: aduru ‘native metal’ karnika 'rim of jar' Rebus: karni 'supercargo' (Marathi) Thus, together, the jar with lid composite hieroglyhph denotes 'native metal supercargo'. karn.aka = handle of a vessel; ka_n.a_, kanna_ = rim, edge; kan.t.u = rim of a vessel; kan.t.ud.iyo = a small earthen vessel; kan.d.a kanka = rim of a water-pot; kan:kha, kankha = rim of a vessel

Comparable hieroglyph of kneeling adorant with outstretched hands occurs on a Mohenjo-daro seal m1186, m478A tablet and on Harappa tablet h177B:

Rebus readings: maṇḍ some sort of framework (?) ʼ. [In nau - maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?) ʼ ŚBr. Rebus: M. ̄ḍ m. ʻ array of instruments &c. ʼ; Si. maa -- ya ʻ adornment, ornament ʼ. (CDIAL 9736) kamaha 'penance' (Pkt.)Rebus: kampaṭṭam 'mint' (Tamil) battuu. n. A worshipper (Telugu) Rebus: pattar merchants (Tamil), perh. Vartaka (Skt.)
m1186 seal. kaula— m. ‘worshipper of Śakti according to left—hand ritual’, khōla—3 ‘lame’; Khot. kūra— ‘crooked’ BSOS ix 72 and poss. Sk. kōra— m. ‘movable joint’ Suśr.] Ash. kṓlƏ ‘curved, crooked’; Dm. kōla ‘crooked’, Tir. kṓolƏ; Paš. kōlā́ ‘curved, crooked’, Shum. kolā́ṇṭa; Kho. koli ‘crooked’, (Lor.) also ‘lefthand, left’; Bshk. kōl ‘crooked’; Phal. kūulo; Sh. kōlu̯ ‘curved, crooked’ (CDIAL 3533). 
Rebus: kol ‘pancaloha’ (Tamil)

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)
saman 'make an offering (Santali) samanon 'gold' (Santali)
minDAl 'markhor' (Torwali) meDho 'ram' (Gujarati)(CDIAL 10120) Rebus: me~Rhet, meD 'iron' (Mu.Ho.Santali)
heraka 'spy' (Samskritam) Rebus:eraka 'molten metal, copper'
maNDa 'branch, twig' (Telugu) Rebus: maNDA 'warehouse, workshop' (Konkani)\karibha, jata kola Rebus: karba, ib, jasta, 'iron, zinc, metal (alloy of five metals)
maNDi 'kneeling position' Rebus: mADa 'shrine; mandil 'temple' (Santali)

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

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

The long curving horns may also connote a ram on h177B tablet:
clip_image061h177Bclip_image062[4]4316 Pict-115: From R.—a person standing under an ornamental arch; a kneeling adorant; a ram with long curving horns.
The ram read rebus: me~d. ‘iron’; glyph: me_n.d.ha ram; min.d.a_l markhor (Tor.); meh ram (H.); mei wild goat (WPah.) me~r.hwa_ a bullock with curved horns like a ram’s (Bi.) me~r.a_, me~d.a_ ram with curling horns (H.)


Ganweriwala tablet. Ganeriwala or Ganweriwala (Urduگنےریوالا‎ Punjabiگنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan.

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


Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'.
Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:

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

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

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

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


Ganeriwala is situated near the Indian border on the dry river bed of the Ghaggar-Hakra (also called the Sarasvati River), now a part of vast desert. It is spread over 80 hectares and comparable in size with the largest sites of the Indus Valley Civilization, such as Mohenjo-daro. A terrecotta tablet is a significant find. In this seal, a cross legged person (suggested as yogic posture) and a kneeling person below a tree and upon a tree are depicted. Such kneeling persons on tree, particularly in front of a tiger like animal, are shown in tablets or seals found at Harappa (H 163 a), Mohenjadaro(M 309 a) and Kalibangan (K 49a).  http://en.wikipedia.org/wiki/Ganeriwala


Excerpts from a recent report (Dr. Vasant Shinde and Dr. Rick Willis) on copper plates with Indus script inscriptions:"The copper plates described in this article are believed to date from the Mature Harappan period, 2600–1900 BC. They were given to the second author in 2011, who realized that the plates were unusual, as they were large and robust, and bore mirrored Indus script as found in seals, but the inscriptions were relatively finely incised and unlikely capable of leaving satisfactory impressions, as with a seal...The copper plates superficially resemble large Indus Valley seals, as seven of the plates bear an image of an animal or person, plus reversed text. Two of the copper plates bear only mirrored Indus characters boldly engraved in two rows. The plates are illustrated in Figure 2...
  • kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’. 
  • koḍ = horns (Santali); koḍ ‘workshop’ (G.)
  • Pair of fishes (hieroglyph on the chest of the seated person): dula 'pair' Rebus: dul 'cast metal' ayo 'fish' Rebus: ayas 'metal alloy'; aya'iron' (Gujarati). Thus dul aya 'cast metal alloy'.



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

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

Rebus readings of glyphs on text of inscription:

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

aṭar ‘a splinter’ (Ma.) aṭaruka ‘to burst, crack, sli off,fly open; aṭarcca ’ splitting, a crack’; aṭarttuka ‘to split, tear off, open (an oyster) (Ma.); aḍaruni ‘to crack’ (Tu.) (DEDR 66) Rebus: aduru ‘native, unsmelted metal’ (Kannada) 

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


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

dula ‘pair’; rebus dul ‘cast (metal)’

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

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



Cernunnos is shown seated in penance (comparable to the sitting posture of the seated person on the Mohenjo-daro seal m0304).

Hieroglyph: kamaḍha ‘penance’ (Prakritam) Rebus: kammaṭa ‘mint, coiner’(Telugu). 


Cernunnos is named in an inscription on the 1st cent. CE Pillar of the Boatmen (French Pilier des nautes) with bas-relief depictions. " Dating to the first quarter of the 1st century AD, it originally stood in a temple in the Gallo-Romancivitas of Lutetia (modern ParisFrance) and is one of the earliest pieces of representational Gaulish art to carry a written inscription...It is displayed in the frigidarium of the Thermes de Cluny...Cernunnos has stag's antlers from which hang two torcs. From the amount of the body in the top half, Cernunnos is assumed to have been depicted in a cross-legged seated position...Smertrios is shown kneeling, brandishing a club and attacking a snake. Castor and Pollus are shown standing beside their horses, each holding a spear...Jupiter is shown standing, holding a spear and a thunderbolt. Esus is shown standing beside a willow tree, which he is cutting down with an axe. Tarvos Trigaranus is depicted as a large, heavy-set bull standing in front of a willow tree. Two cranes stand on his back and a third on his head. Vulcan is shown standing, with hammer and tongs."
One panel shows three warriors (who were perhaps also boatmen who accompanied to guard the treasures of seafaring merchants.).

https://en.wikipedia.org/wiki/Pillar_of_the_Boatmen On this Pillar of the Boatmen, Cernunnos is shown as a horned person flanked by two rings (torcs). The message is: ancient seafaring metalworkers.
The pillar provides the only undisputed instance of the divine name Cernunnos.(John Koch, editor, Celtic Culture: A Historical Encyclopedia (ABC-Clio, 2006), p.396).
This boatman, Cernunnos is the boatman from Meluhha shown on a Mohenjo-daro seal

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

tvāṣṭra त्वाष्ट्र 'copper' This meaning is significant if tvaṣṭṛ remembered as Cernunnos as a boatman from Meluhha. The seafaring boatman from Meluhha was a metalworker, worker in copper. He was also a chariot-maker celebrated in harosheth haggoyim'smithy of nations' (Old Bible. The Judges).
The author of Sukta RV 10.8 and 10.9 is tvaṣṭṛ त्वष्टृ m. [त्वक्ष्-तृच्] 1 A carpenter, builder, workman, त्वष्ट्रेव विहितं यन्त्रम् Mb.12.33.22. -2 Viśvakarman, the architect of the gods. [Tvaṣtṛi is the Vulcan of the Hindu mythology. He had a son named Triśiras and a daughter called संज्ञा, who was given in marriage to the sun. But she was unable to bear the severe light of her husband, and therefore Tvaṣtṛi mounted the sun upon his lathe, and carefully trimmed off a part of his bright disc; cf. आरोप्य चक्रभ्रमिमुष्णतेजास्त्वष्ट्रेव यत्नो- ल्लिखितो विभाति R.6.32. The part trimmed off is said to have been used by him in forming the discus of Viṣṇu, the Triśūla of Śiva, and some other weapons of the gods.] पर्वतं चापि जग्राह क्रुद्धस्त्वष्टा महाबलः Mb.1.227. 34. -3 Prajāpati (the creator); यां चकार स्वयं त्वष्टा रामस्य महिषीं प्रियाम् Mb.3.274.9. -4 Āditya, a form of the sun; निर्भिन्ने अक्षिणी त्वष्टा लोकपालो$विशद्विभोः Bhāg.3.6.15.
tvāṣṭra
त्वाष्ट्र a. Belonging or coming from त्वष्टृ; त्वाष्ट्रं यद् दस्रावपिकक्ष्यं वाम् Rv.1.117.22. -ष्ट्रः Vṛitra; येनावृता इमे लोकास्तमसा त्वाष्ट्रमूर्तिना । स वै वृत्र इति प्रोक्तः पापः परमदारुणः ॥ Bhāg.6.9.18;11.12.5. -ष्ट्री 1 The asterism Chitra. -2 A small car. -ष्ट्रम् 1 Creative power; तपःसारमयं त्वाष्ट्रं वृत्रो येन विपाटितः Bhāg.8.11.35. -2 Copper.

r.s.i: tris'ira_ tvas.t.ra; devata_: agni, 7-9 indra; chanda: tris.t.up
RV 10.8

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

r.s.i: tris'ira_ tvas.t.ra or sindhudvi_pa a_mbari_s.a; devata_: a_po devata_ (jalam); chanda: ga_yatri_, 5 vardhama_na_ ga_yatri_, 7 pratis.t.ha_ ga_yatri_, 7-9 anus.t.up
RV 10.9
10.009.01 Since, waters, you are the sources of happiness, grant to us to enjoy abundance, and great and delightful perception. [Great and delightful perception: mahe ran.a_ya caks.ase = samyajn~a_nam, perfect knowledge of brahman; the r.ca solicits happiness both in this world and in the next; the rapturous sight of the supreme god; to behold great joy].
10.009.02 Give us to partake in this world of your most auspicious Soma, like affectionate mothers.
10.009.03 Let us quickly have recourse to you, for that your (faculty) of removing (sin) by which you gladden us; waters, bestow upon us progeny. [Let us go to you at once for him to whose house you are hastening; waters, reinvogorate us; faculty of removing sin: ks.aya = niva_sa, abode; aram = parya_ptim, sufficiency; perhaps a recommendation to be regular in practising ablution].
10.009.04 May the divine water be propitious to our worship, (may they be good) for our drinking; may they flow round us, and be our health and safety. [This and previous three r.cas are repeated at the daily ablutions of the bra_hman.as].
10.009.05 Waters, sovereigns of precious (treasures), granters of habitations to men, I solicit of you medicine (for my infirmities). [Precious: va_rya_n.a_m = va_riprabhava_na_m vri_hiyava_dina_m, the products of the water, rice, barley etc.; bhes.ajam = happiness driving away sin].
10.009.06 Soma has declared to me; all medicaments, as well as Agni, the benefactor of the universe, are in the waters. [This and the following r.cas of the su_kta are repetitions from RV.1. 23, 20-23; in man.d.ala 1, Soma speaks to Kan.va; in this present man.d.ala, Soma speaks to A_mbari_s.a Sindhudvi_pa, a ra_ja_].
10.009.07 Waters, bring to perfection, all disease-dispelling medicaments for the good of my body, that I may behold the Sun.
10.009.08 Waters, take away whatever sin has been (found) in me, whether I have (knowingly) done wrong, or have pronounced imprecations (against holy men), or have spoken untruth.
10.009.09 I have this day entered into the waters; we have mingled with their essence. Agni, abiding in the waters approach, and fill me (thus bathed) with vigour. ["I invoke for protection the divine (waters) of excellent wisdom, discharging their functions (tadapasah), flowing by day and flowing by night": supplementary khila 1.2.3: sasrus'is tada_paso diva_ naktam ca sasrus'ih! varen.yakratur ahama devir avase huve].

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



m 304. Mohenjo-daro seal. DK 5175, now in the National Museum of India, New Delhi. Seated person with buffalo horns. 
Head gear: Hieroglyph: taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker'; Hieroglyph: goṇḍe ʻ cluster ʼ (Kannada) Rebus: kuṇḍi-a = village headman; leader of a village (Prakritam)


mũh 'face'; rebus: metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.) 



Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.) The face is depicted with bristles of hair, representing a tiger’s mane. cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883).Rebus: cūḷai 'furnace, kiln, funeral pile' (Te.)(CDIAL 4879; DEDR 2709). Thus the composite glyphic composition: 'bristled (tiger's mane) face' is read rebus as: sodagor mũh cūḷa 'furnace (of) ingot merchant'.



kamarasāla = waist-zone, waist-band, belt (Te.) karmāraśāla = workshop of blacksmith (Skt.) kamar ‘blacksmith’ (Santali) 



The person on platform is seated in penance: kamaḍha 'penance' (Pkt.) Rebus: kammaṭa ‘mint, coiner’ (Malayalam) 



Hieroglyph: arms with bangles: karã̄ n.pl.ʻwristlets, banglesʼ.(Gujarati)(CDIAL 2779) Rebus: khār खार्  'blacksmith' (Kashmiri)



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

Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali.lex.) kuntam 'haystack' (Te.)(DEDR 1236) Rebus: kuṇḍamu 'a pit for receiving and preserving consecrated fire' (Te.)

A pair of hayricks, a pair of antelopes: kundavum = manger, a hayrick (G.) Rebus: kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295) 
Decoding a pair: dula दुल । युग्मम् m. a pair, a couple, esp. of two similar things (Rām. 966) (Kashmiri); dol ‘likeness, picture, form’ (Santali) Rebus: dul ‘to cast metal in a mould’ (Santali) dul meṛeḍ cast iron (Mundari. Santali)
Antelope: miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (G.)(CDIAL 10120); rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Glyph: krammara ‘look back’ (Te.); Rebus: kamar ‘smith’ (Santali) Vikalpa 1: mlekh ‘antelope’(Br.); milakkhu ‘copper’ (Pali) Vikalpa 2: kala stag, buck (Ma.) Rebus: kallan mason (Ma.); kalla glass beads (Ma.); kalu stone (Kond.a); xal id., boulder (Br.)(DEDR 1298). Rebus: kallan ‘stone-bead-maker’.

Thus, together, the glyphs on the base of the platform are decoded rebus:meḍ kamar dul meṛeḍ kũdār,'iron(metal)smith, casting (and) turner'. 
Animal glyphs around the seated person: buffalo, boar (rhinoceros), elephant, tiger (jumping).

 ran:gā ‘buffalo’; ran:ga ‘pewter or alloy of tin (ran:ku), lead (nāga) and antimony (añjana)’(Santali)
kANDa 'rhinoceros' Rebus: khaNDa 'metal implements'
ibha ‘elephant’ (Skt.); rebus: ib ‘iron’ (Santali) karibha ‘trunk of elephant’ (Pali); rebus: karb ‘iron’ (Ka.)
kolo, koleā 'jackal' (Kon.Santali); kola kukur 'white tiger' (A.); dāṭu ‘leap’ (Te.); rebus: kol pañcaloha 'five metals'(Ta.); kol 'furnace, forge' (Kuwi) dāṭu 'jump' (Te.). Rebus: dhātu ‘mineral’ (Skt.) Vikalpa: puṭi 'to jump'; puṭa 'calcining of metals'. Thus the glyph 'jumping tiger' read rebus: 'furnace for calcining of metals'.

Decoding the text of the inscription
Text 2420 on m0304

Line 2 (bottom): 'body' glyph. mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.)

Line 1 (top):

'Body' glyph plus ligature of 'splinter' shown between the legs: mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) sal ‘splinter’; Rebus: sal ‘workshop’ (Santali) Thus, the ligatured glyph is read rebus as: meḍ sal 'iron (metal) workshop'.

Sign 216 (Mahadevan). ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhatu ‘mineral’ (Santali) Vikalpa: erā ‘claws’; Rebus: era ‘copper’. Allograph: kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.) kamat.ha = fig leaf, religiosa (Skt.)

Sign 229. sannī, sannhī = pincers, smith’s vice (P.) śannī f. ʻ small room in a house to keep sheep in ‘ (WPah.) Bshk. šan, Phal.šān ‘roof’ (Bshk.)(CDIAL 12326). seṇi (f.) [Class. Sk. śreṇi in meaning "guild"; Vedic= row] 1. a guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). -- 2. a division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. senā and seniya). (Pali)

Sign 342. kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar’(Skt.) Rebus: karṇaka ‘scribe, accountant’ (Te.); gaṇaka id. (Skt.) (Santali) copper fire-altar scribe (account)(Skt.) Rebus: kaṇḍ ‘fire-altar’ (Santali) Thus, the 'rim of jar' ligatured glyph is read rebus: fire-altar (furnace) scribe (account) karNI 'supercargo' (Marathi)

Sign 344. Ligatured glyph: 'rim of jar' ligature + splinter (infixed); 'rim of jar' ligature is read rebus: kaṇḍa karṇaka 'furnace scribe (account)'. 

sal stake, spike, splinter, thorn, difficulty (H.); Rebus: sal ‘workshop’ (Santali) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93). 2. To move, toss, as a ship; அலைவுறுதல். (R.) 3. To be undecided, vacillating; மனஞ் சுழலுதல். நெஞ்ச மாலைபாய்ந் துள்ள மழிகின்றேன் (அருட்பா,) Vikalpa: sal ‘splinter’; rebus: workshop (sal)’ ālai ‘workshop’ (Ta.) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93) Thus, together with the 'splinter' glyph, the entire ligature 'rim of jar + splinter/splice' is read rebus as: furnace scribe (account workshop). Sign 59. ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) Sign 342. kaṇḍa karṇaka 'rim of jar'; rebus: 'furnace scribe (account)'. Thus the inscription reads rebus: iron, iron (metal) workshop, copper (mineral) guild, fire-altar (furnace) scribe (account workshop), metal furnace scribe (account) As the decoding of m0304 seal demonstrates, the Indus hieroglyphs are the professional repertoire of an artisan (miners'/metalworkers') guild detailing the stone/mineral/metal resources/furnaces/smelters of workshops (smithy/forge/turners' shops).


Selected Meluhha homonyms

lo, no ‘nine’ phonetic reinforcement of: loa ‘ficus’ Rebus: lo ‘copper’
mū̃h ‘human face’ Rebus: mū̃h ‘ingot’ (See human face ligatured to a markhor: Seal m1186)
Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR 5023) Rebus: mū̃h ‘ingot’
muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali)
bicha ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Santali)
kuṭi;  ‘water-carrier’ Rebus: kuṭhi ‘smelter furnace’
kuṭi ‘tree’ Rebus: kuṭhi ‘smelter’
kuṭi ‘pudendum muliebre’. kuṭhi ‘smelter’.
kūdī 'bunch of twigs' (Sanskrit)  Rebus: kuṭhi 'smelter furnace' (Santali)
u horn (Kannada. Tulu. Tamil) Rebus: u horn Rebus: ‘workshop’.
mlekh ‘goat’ Rebus: milakkhu ‘copper’ (Pali) mlecchamukha ‘copper’ (Sanskrit)
Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ ‘ram’, miṇḍā́l ‘markhor’ (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Munda.Ho.)
maṇḍā ‘raised platform, stool’ Rebus:  maṇḍā ‘warehouse’
maṇḍa ʻ some sort of framework (?) In nau -- maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?) ʼ ŚBr. (CDIAL 9737)
maṇḍa m. ʻ ornament ʼ lex. [√maṇḍ] Pk. maṁḍaya -- ʻ adorning ʼ; Ash. mōṇḍa, mōnda, mūnda NTS ii 266, mōṇə NTS vii 99 ʻ clothes ʼ; G. mã̄ḍ m. ʻ arrangement, disposition, vessels or pots for decoration ʼ, māṇ f. ʻ beautiful array of household vessels ʼ; M. mã̄ḍm. ʻ array of instruments &c. ʼ; Si. maḍa -- ya ʻ adornment, ornament ʼ. (CDIAL 9736). Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Munda.Ho.)
maṇḍa (Sanskrit) OMarw. mīḍako m. ʻ frog ʼ, mīṁḍakī f. ʻ small frog ʼ, G. me_ḍak, meḍ° m., me_ḍkī, meḍ° f.; M. mẽḍūk -- mukh n. ʻ frog -- like face ʼ. 1. Pa. maṇḍūka -- m., °kī -- f. ʻ frog ʼ, Pk. maṁḍū˘ka -- , °ḍūa -- , °ḍuga -- m., (CDIAL 9746) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
miṇḍāl ‘markhor’ (Tōrwālī)meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
bhaṭā G. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā ‘kiln, furnace’
eragu ‘bow’ erugu = to bow, to salute or make obeisance (Telugu)er-agu = obeisance (Kannada) [Note image of an offering adorant] Rebus: eraka, erka = copper (Kannada) erako ‘moltencast copper’(Gujarati)
baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) 

Mn. bhaṭa -- m. ʻ hired soldier, servant ʼ MBh S. bhaṛu ʻ clever, proficient ʼ, m. ʻ an adept ʼ; Ku. bhaṛ m. ʻ hero, brave man ʼ, adj. ʻ mighty ʼ; B. bhaṛ ʻ soldier, servant, nom. prop. ʼ, bhaṛil ʻ servant, hero ʼ bhr̥taka -- m. ʻ hired servant ʼ (CDIAL 9588) Rebus: M. bhaḍ f. ʻcrackling fuelʼ(CDIAL 9365)S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhībhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge (CDIAL 9656)

kola ‘woman’ Rebus: kol ‘working in iron’; kolhe ‘smelter’
kol ‘tiger’ Rebus: kol ‘working in iron’; kolhe ‘smelter’
The kneeling person is indicative of worshipful state. That a smelter/forge kole.l is a temple is emphatic from the etyma; the gloss kole.lmeans: smithy, temple: Ta. kol working in iron,blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka.kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.)  konimi 
blacksmith;(Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace.Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge.(DEDR 2133)
kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’.
kaṇḍo ‘stool, seat’ Rebus: kāṇḍa  ‘metalware’ kaṇḍa  ‘fire-altar’
loa ‘ficus religiosa’ Rebus: lo ‘iron’ (Sanskrit)
bagala ‘pleiades’ Rebus: bagalo = an Arabian merchant vessel (G.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.);bagarige, bagarage = a kind of vessel (Ka.)
dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Western Pahari) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali)
sã̄gāḍā m. ʻ frame of a building ʼ, °ḍī f ʻ lathe ʼ(CDIAL 12859) Rebus: sangataras. संगतराश lit. ‘to collect stones, stone-cutter, mason.’
dula 'pair' Rebus: dul 'cast metal'.  (See two scorpions, two ladles)


S. Kalyanaraman Sarasvati Research Center December 24, 2015

India to develop two islands in Indian Ocean. NaMo, work for Indian Ocean Community

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INDIA TO DEVELOP TWO ISLANDS IN INDIAN OCEAN
THURSDAY, MARCH 12, 2015 BY INDIANDEFENSE NEWS

Left: Agalega in Mauritius & Assumption in Seychelles
NEW DELHI: In a major boost for India in the Indian Ocean, the government has bagged ''infrastructure development rights'' for two islands in the region - Agalega from Mauritius and Assumption from Seychelles - during PM Narendra Modi's ocean outreach comprising visits to Mauritius, Seychelles and Sri Lanka.

New Delhi marked its Indian Ocean presence with Modi offering to set up joint working groups with the two blue economies in the region to harness potential for economic cooperation. The understanding to allow India to develop these islands is of huge strategic significance for India which is widely seen as having lost out to China in having a purposeful engagement with the littoral states despite its own central location.

The Modi government has sought to address the issue by acknowledging the primacy of Indian Ocean for India's security and for maintaining peace and stability in the region. Official sources said that the development rights for the two islands had been discussed for months before these were successfully concluded during Modi's visit in a sign that ''Indian Ocean was going to be India's Ocean''.

''Our agreement today on the development of infrastructure in the Assumption Island (Seychelles) gives a strong boost to this partnership,'' said Modi in a media statement, adding that the ocean economy was indispensable to meeting India's future challenges. Modi also launched a Coastal Surveillance Radar Project

India signed an MoU with Mauritius for setting up and upgrading infrastructure for improving sea and air connectivity at the outer island of Mauritius ''which will go a long way in ameliorating the condition of the inhabitants of this remote Island". Foreign ministry spokesperson Syed Akbaruddin said these facilities are also expected to enhance the capabilities of the Mauritian defence forces in safeguarding their interests in the island.

Until recently India seemed ill-equipped to meet the challenge from China which aggressively sought to expand its presence in the Indian Ocean by undertaking mega infrastructure projects in several littoral countries. Its maritime silk road proposal was embraced by many of these countries including Sri Lanka which Modi will be visiting on Friday. China's decision to send submarines in Indian Ocean right up to the Gulf of Aden in the recent past has added another dimension to the problem for India. While the new government in Sri Lanka is expected to address India's security concerns which it repeatedly and unsuccessfully raised with the previous government of Mahinda Rajapaksa, the situation in Maldives is still not to New Delhi's liking as pro India former President Mohamed Nasheed remains under detention.

India signed another MoU with Mauritius which will provide an extensive framework for cooperation in the field of ocean economy. It provides for mutually beneficial cooperation for exploration and capacity development in the field of marine resources, fisheries, green tourism, research and development of ocean technology, exchange of experts and other related activities.

Published: December 23, 2015 22:47 IST | Updated: December 23, 2015 22:47 IST  

‘Seychelles committed to Indian naval base’

Seychelles is expecting India’s evaluation team to visit the spot soon, President James Michel told The Hindu.
Special Arrangement
Seychelles is expecting India’s evaluation team to visit the spot soon, President James Michel told The Hindu.

Seychelles President acknowledges that India has been steadily increasing its maritime and security cooperation with Seychelles.

A plot of land for India to build its first naval base in the Indian Ocean region has been allocated by the Seychelles government in the Assumption Island.
Lifting the veil of secrecy around the planned project, President James Michel of the Seychelles told The Hindu: “This is a joint project between India and Seychelles involving our two Defence Forces in enhancing our mutual security along our western seaboard. Seychelles is absolutely committed to the project.”
Seychelles is expecting India’s evaluation team to visit the spot soon, President Michel said. The project has acquired significance following China acquiring its first African naval base in Djibouti in November. Once ready, the naval base to be built by the defence forces of India, and Seychelles will help India exercise greater control over the Indian Ocean’s western region all the way to the piracy-prone eastern African coastline.
The base will be one of the major staging posts for a large maritime security network that India is setting up with the help of the various Indian Ocean region partner countries.
Apart from the naval base, India is set to acquire a fully operational coastal radar system (CRS) based in Seychelles from March 2016, Mr. Michel said. The CRS will provide India with the ability to gather intelligence and assist in surveillance operations of the vital energy lanes near Seychelles.
“The Maritime Radar Project is a major development for Seychelles’ and India’s mutual desire for security in the field of maritime security,” said President Michel, who was sworn in for a third term on December 20.
Fighting piracy
Security operation in the Indian Ocean region will also be helped by the leadership role that Seychelles has secured for itself in the Contact Group for Piracy off the Coast of Somalia (CGPCS), which will hold its first meeting in Mumbai on January 31, 2016. “Both India and Seychelles have a vested interest in securitising the Western Indian Ocean. We have forged a partnership that has gone a fair distance in eradicating the scourge of Somalia-based piracy as well as other maritime security issues.”
Mr. Michel acknowledged that India has been steadily increasing its maritime and security cooperation with Seychelles and that a new patrol vessel from India will be handed over to Seychelles in mid-January 2016.
“These initiatives have greatly helped our security environment,” said the President who visited New Delhi in August. He had been persistent in building a security network to prevent piracy, arms trafficking and financial fraud in the banks of the Indian Ocean region islands.
India, with its strong intelligence network, will also be helpful in maritime law enforcement by Seychelles, he added. While declaring support for India’s maritime security plans, President Michel pointed out that small nations are equally important in the contemporary world order and need to be taken seriously for the sake of preserving the security and order.
Printable version | Dec 24, 2015 8:36:28 AM | http://www.thehindu.com/news/international/seychelles-committed-to-indian-naval-base/article8022404.ece


After KPS Gill's salvo, Jaitley has no other option but to quit -- Sandhya Jain. NaMo, nationalise kaalaadhan.

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Jaitley has no other option but to quit

Last Updated: Wednesday, 23 December 2015 6:55 PM |
Jaitley has no other option but to quitSandhya Jain
Within 72 hours, soon after Prime Minister Narendra Modi returns from an official visit to Russia, Union Finance Minister and Information & Broadcasting Minister Arun Jaitley will have to submit his resignation from the Union Cabinet.
Jaitley’s position – already sticky after the Prime Minister was perceived as hinting that he step down and clear his name in the fashion of his mentor LK Advani when the latter’s name was dragged into the infamous Jain Hawala Scandal – has become invidious with former Punjab Director General of Police, KPS Gill, writing to Delhi Chief Minister Arvind Kejriwal complaining that the Finance Minister had got his daughter Sonali Jaitley appointed as counsel of Hockey India when he was member of its advisory board, and allegedly ensured that huge amounts were paid to her as fee.
As it is impossible to deny or explain this nepotism, the curtains will soon ring down on Arun Jaitley’s 18-month tenure as the most powerful minister in the cabinet after Narendra Modi.
The highly anticipated resignation has been the subject of speculation since Jaitley threatened to sue Delhi Chief Minister Arvind Kejriwal for alleging corruption during his tenure as chief of the Delhi and District Cricket Association (DDCA). Once he followed up with suits for civil (Rs 10 crore) and criminal (for punishment) defamation, his exit was certain.
It is relevant that the Delhi Government has set up a Commission of Inquiry under former Solicitor General of India, Gopal Subramanian, to probe the allegations against Jaitley.
Finance minister Arun Jaitley was DDCA president till 2013. (PTI file photo)
Finance minister Arun Jaitley was DDCA president till 2013. (PTI file photo)
Jaitley’s choice of senior advocate Siddharth Luthra, a former Additional Solicitor General during the UPA era, has raised eyebrows in the BJP, where many have privately questioned his commitment to the party.
The credit for this sudden turn in Arun Jaitley’s fortunes goes to the BJP’s Darbhanga MP, Kirti Azad, who, along with veteran Bishan Singh Bedi, reiterated his charges after the Finance Minister claimed to have been cleared by a committee appointed by the UPA. Azad braved ‘pressure’ from party president Amit Shah to harangue Jaitley; many now speculate if this was a ‘deep’ game to topple the senior minister who has a penchant for salacious gossip about cabinet and party colleagues and has enraged many with selective leaks in the media.
Party sources say the writing was on the wall once Jaitley made the mistake of going to court. He should have calmed down once senior ministers refused to defend him in the manner in which the government and party rallied around Foreign Minister Sushma Swaraj and Rajasthan Chief Minister Vasundhara Raje in the controversy relating to former cricket czar Lalit Modi’s travel visa and London residency. At Amit Shah’s request, Union Minister Venkaiah Naidu agreed to accompany Jaitley to file the case, as a formal courtesy.
Jaitley will now have to submit to arduous cross examination by a legal eagle like Ram Jethmalani, and face de facto legal scrutiny – a huge mistake. As BJP leader in the Rajya Sabha he often demanded the resignations of tainted Congress ministers during the UPA rule. After KPS Gill’s salvo, he has no choice but to quit before his continuation in the cabinet becomes an embarrassment and is demanded by the party itself.
Prime Minister Modi is reportedly keen to jettison Jaitley, a political lightweight, to keep the limelight on the National Herald case and the bad publicity it has generated for the Congress party and the Gandhi family. He also needs to ensure that Budget 2016 is not a washout like the two budgets prepared by Jaitley, which eroded the confidence of the middle class and the corporate community and gave his government the appearance of a wobbly enterprise.
(The writer is an Author and Journalist. Email: jsandhya@gmail.com. Twitter: @vijayvaani.com)
http://www.abplive.in/blog/jaitley-has-no-other-option-but-to-quit

Vivek Agnihotri writes to Arvind Kejriwal with 9 reasons 'A real ot is the one that doesn't smell of its clay (mitti)'. NaMo, nationalise kaalaadhan.

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9 reasons why Arvind Kejriwal needs to see a shrink



Byvivekagnihotri
Dec. 17, 2015
Journalism free from journalists’ bias and incompetence
Dear Arvind,
It was a sunny day when I flew to Delhi to join your Anti-Corruption movement at Jantar Mantarjantar mantar kejriwalNo one had invited me, except for my conscience, a deep desire to see India shine, and my belief in your integrity. I remember telling Medha Patkar that if India has to change it would be through leaders like you – uncompromising, humble, honest and positive.
It pains me to say that you have let me down on all accounts. After reading your tweets yesterday, protecting a corrupt officer and then seeing you vomit venom in a press conference, I am convinced that you need to see a psychiatrist on an immediate basis.  And I can tell you why:
People chose you on merit, assuming that you will promote meritocracy but look at what you have promoted: mediocrity, incompetence, inefficiency and unproductivity. You promised ‘new politics’ but you brought in the same old divisive,‘vote-bank’ politics by visiting Imams, opportunistic protesting and false promises. You delivered just the opposite of what was promised by you. This kind of disorientation requires instant help from a senior psychiatrist.
I remember that morning of April 2011, at Jantar Mantar where you were surrounded by Anna, Bedi, Yadav, Bhushans, Aamir Khan, Raju Hirani, Anupam Kher, Baba Ramdev, Sri Sri Ravishankar, Gen VK Singh, Medha Patkar and many many other honest Indians. Where have they all gone? Why have all good, honest and wise people left you? Why do all your confidantes call you a megalomaniac, an over-ambitious, arrogant, manipulative, pathological liar and a vicious person? Look where you are now… hugging Lalu Prasad Yadav on a public platform; the same Lalu whom you called an icon of corruption. Don’t you think a man who leaves good quality in want of inferior quality needs psychological counseling?
Why are you left with people who have no experience, credibility, integrity or intelligence? Tell me honestly, what do Ashutosh, Raghav Chadhdha and Ashish Khetan bring on board except for uncultured, uncivil, irrational and stupid behaviour? Why would a captain chose a team of bad players? Don’t you think such captain needs to do extended sessions with a good counselor?
You said you won’t join politics but you did. You refused to contest elections but you did. Remember, how vehemently you were against becoming a national party but AAP contested 400 seats. You committed to arrest Sheila Dixit but you didn’t. You were the champion of Lokpal but your own internal Lokpal and external lokpal turned out to be bogus. You staged a drama over farmers’ suicide, killing another farmer due to your negligence. You lie without checking facts. In the morning, you blame railways for killing an infant whose father denies it in the evening. One day, you support SC judgement on CBI’s power to raid, and now you oppose it. In the morning you said the raid was an attack from Modi but by the evening it was Jaitley. You said you had DDCA file implicating Jaitley but you were sitting on it. Why are you trapped in such illogical logic? Are you hallucinating? Just to ensure that you aren’t, you need to see a psychiatrist, instantly.
You call PM Narendra Modi a coward and a psychopath. Do you want us to believe that a coward can be one of the most powerful persons in the world? Do you really believe that when World Bank chief says today’s world needs more leaders like Modi, he is talking about a coward leader? You used to call Manmohan Singh a coward for not using CBI to raid the corrupt and now you are calling Modi coward, for raiding the corrupt. Do you really think a psychopath can rule a state for more than 2 consecutive terms and then get elected with a historic mandate as PM? Wouldn’t that logic make India a country of psychos? What kind of Chief Minister calls a law-enforcing agency like CBI ‘tutpoonjiya’? Are you the messiah of anti-corruption movement or a corrupt Bahubali? Or plain schizophrenic? You have no control over your thoughts, logic, rationality, language and civility. This is why you need to see a psychiatrist.
You are not the first CM of Delhi. No other CM went on a war path with the Central Government as you do. Every single time you blame the government, it turns out that you want to bypass the constitution and procedures. You can’t get along with anyone. Nobody wants to work with you. You see only negatives in everyone. You never ever utter a word of praise for anyone. Not even for people who voted for you. You are suffering from negativity syndrome. Please, see a good shrink.
One of the easiest and most common ways to feel bad about oneself is to compare yourself unfavorably to others who are more successful, seem more powerful and more in command. For example, Narendra Modi. Somewhere deep in your mind you believe that Modi is taking us towards hell and only you can lead us to heaven. I’d like to remind you of what John Milton said – “The mind is its own place, and in itself can make a heaven of hell, a hell of heaven.” In psychological terms, you’re having a ‘negative social comparison’ moment. Research indicates that habitual negative social comparisons can cause a person make self-defeating choices and such person needs immediate psychiatric help.
You have this inexplicable need to blame others for your own failures. You attack all those institutions and people who facilitate law and order. The Police, ACB, CBI and Central Government. Politics and governance present many difficulties. To blame others as the reason for one’s failure is to cast oneself in the role of the victim. The victims of habitual blaming suffer from what H.D. Thoreau calls “quiet desperation” and there is a cure for this syndrome. You need to shift from being reactive to proactive, but you haven’t shown any such improvement. You need professional help.
I haven’t seen you smile in a long, long time. You have lost your sense of humor. You always look suspicious, negative, grouchy and angry. Now, even your eyes are giving away. They look defocused, insane and psychopathic. Please, see a good shrink.
Since you love movies, let me tell you a famous dialogue from my favourite movie – “The greatest trick the Devil ever pulled was convincing the world he didn’t exist”. I am talking about invisible devils that don’t want India to become a superpower, however much Narendra Modi flies across the globe. You don’t want to be one of those and convince us that devils do exist.  Wouldn’t you want to do something worthwhile? Congress is dying. One Modi is not enough. We need more forces who can kill the devil. If you want, you can still be that person, Arvind.
Feel better. Enjoy. Take a selfie with a nice smile. Tweet it and see how it goes viral and brings smile on others.
Yours truly,
Vivek Agnihotri
PS: Please leave filmi dialogues like ‘…kis mitti ka bana hoon…’ for Sunny Deol & co. and read Zen where they say “A real pot is the one that doesn’t smell of its clay (mitti)”.
– Vivek Agnihotri is a filmmaker, writer and motivational speaker. He tweets at @vivekagnihotri
http://www.opindia.com/2015/12/9-reasons-why-arvind-kejriwal-needs-to-see-a-shrink/

Binjor Indus Script Seal & Mulavarman yupa inscription, relate to yajna for बहुसुवर्णक, bahusuvarṇaka, 'to possess many gold pieces'

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Mirror: http://tinyurl.com/z2q2rk6

बहुसुवर्णक, bahusuvarṇaka, is a metaphor for the creation of wealth using fire, fire-altars as furnaces/smelters and yupa as invocations to Cosmic pillar to the Cosmic Dancer, the Paramatman to transmute mere earth and stones into metal, a form of wealth. The entire Vedic corpus is in nuce (nutshell) in the processing of Soma, which is NOT a herbal but a mineral. A synonym for Soma is ams'u with the cognate ancu 'iron' (Tocharian).

The key expressions on the Mulavarman Yupa inscription (D.175) are in Samskritam and one fragment reads: yaṣṭvā bahusuvarṇakam; tasya yajñasya yūpo ‘yam. This means "from yaṣṭi to possess many gold pieces; this Yupa is a commemoration of that yajna." The interpretation is comparable to the Indus Script seal found in Binjor in the context of a fire-altar with an octagonal brick, yaṣṭi. The seal can be seen as an inscription detailing metalwork catalogue of the bahusuvarṇnakam 'to possess many gold pieces' that was produced by the smelter/furnace operations using the fire-altar.

Prof. Kern identified the expression with bahuhiraNya, a particular Soma yajna. Balakanda of Ramayana has this citation: nityam pramuditAh sarve yatha kRitayuge tathA as'vamedha s'atair ishTvA tathA bahusuvarNakaih (Balakanda I,95) The referene is to the as'vamedha sattra desirous of possessing many pieces of gold. In reference to Meghanada's yajna, the reference reads:
agniSTomo 's'vamedha ca yajno bahusuvarNakah
rAjasUyas tathA yajno gomedho vaishNavas tathA mahes'vare

(UttrakANDa, XXV, 87-9) A rajasuya yajna with prayers to mahesvara is also linked to many pieces of gold. 

Another translation: "Thereupon that foremost of twice born ones Usanas of austere penances, wishing the prosperity of the sacrifice, said to Ravana the Rakshasa chief "Hear,I shall relate to thee everything, O king ;thy son hath met with the fruits of many a sacrifice AgnistomaAsvamedha
Bahusuvarnaka." (vrm 7.30)

(B.Ch. Chhabra, Yupa Inscriptions, in: Jean Ph. Vogel, 1947,India antiqua, Brill Archive, p.82).

Generosity associated with the performance of yajna is referenced in a yupa inscription. “Let the foremost amongst the priests and whatsoever pious men (there be) hear of the generous deed of Mulavarman, let them hear of his great gift, his gift of cattle, his gift of a kalpavRkSam, his gift of land'.”

Thus, Yupa inscriptions of Mulavarma are delineation of an economic institution. Vogel also notes: “Both the scholarship and the workmanship of our yupa inscriptions bear testimony of a considerable degree of Hindu culture in Eastern Borneo during the period to which they belong.” Mulavarman's grandfather KuNDungga had the cooperation of Hindu priests 'who had come here from different parts' (Vogel, 1918, pp. 167-232).

The names of yajnas are clearly related to the 'fruits of the yajna' which is to yield बहुसुवर्णक, bahusuvarṇaka, 'many pieces of gold'. That this is recognized as a Soma yajna reaffirms Soma not as a herbal but a mineral smelted, furnaced through fire-altars, yajnakuNDa.

See the decipherment of the Binjor Indus Script Seal inscription: 


Binjor octagonal brick as a skambha, pillar mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), mihomiyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽhmẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. mehmehā ʻ the post ʼ, (SBhagalpur)mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīrmīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛhamehra ʻ a circular construction, mound ʼ; Or. meṛhī,meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.mēthika -- ; mēthiṣṭhá -- . mēthika m. ʻ 17th or lowest cubit from top of sacrificial post ʼ lex. [mēthí -- ]Bi. mẽhiyā ʻ the bullock next the post on threshing floor ʼ.mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ] Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭāmẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10317 to, 10319)

The Binjor seal inscription has been dciphered as a metalwork catalogue -- a collection of implements from a smithy/smelter workshop:

Binjor Seal Text.
Fish + scales, aya ã̄s (amśu) ‘metallic stalks of stone ore’. Vikalpa: badho ‘a species of fish with many bones’ (Santali) Rebus: bahoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali)

gaNDa 'four' Rebus: khaNDa 'metal implements' Together with cognate ancu 'iron' the message is: native metal implements. 

Thus, the hieroglyph multiplex reads: aya ancu khaNDa 'metallic iron alloy implements'.

koḍi ‘flag’ (Ta.)(DEDR 2049). Rebus 1: koḍ ‘workshop’ (Kuwi) Rebus 2: khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947)

The bird hieroglyph: karaḍa 

करण्ड  m. a sort of duck L. కారండవము (p. 0274) [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. (Telugu) karaṭa1 m. ʻ crow ʼ BhP., °aka -- m. lex. [Cf. karaṭu -- , karkaṭu -- m. ʻ Numidian crane ʼ, karēṭu -- , °ēṭavya -- , °ēḍuka -- m. lex., karaṇḍa2 -- m. ʻ duck ʼ lex: see kāraṇḍava -- ]Pk. karaḍa -- m. ʻ crow ʼ, °ḍā -- f. ʻ a partic. kind of bird ʼ; S. karaṛa -- ḍhī˜gu m. ʻ a very large aquatic bird ʼ; L. karṛā m., °ṛī f. ʻ the common teal ʼ.(CDIAL 2787) 
Rebus: karaḍā 'hard alloy'

Thus, the text of Indus Script inscription on the Binjor Seal reads: 'metallic iron alloy implements, hard alloy workshop' PLUS
the hieroglyphs of one-horned young bull PLUS standard device in front read rebus:

kõda 'young bull, bull-calf' rebus: kõdā 'to turn in a lathe'; kōnda 'engraver, lapidary'; kundār 'turner'.

Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati) Rebus: sangara 'proclamation.
Together, the message of the Binjor Seal with inscribed text is a proclamation, a metalwork catalogue (of)  'metallic iron alloy implements, hard alloy workshop' .


S. Kalyanaraman
Sarasvati Research Center
December 25, 2015

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Kutai Prasasti of Mulawarman
Zoom In[Yupa inscription of king Mulavarman]
Zoom In[Yupa inscription (D 2d) from king Mulavarman]
Zoom In[Yupa inscription (D 2b) from king Mulavarman]

[Yupa inscription (D. 175, D. 176, D. 177) of king Mulavarman]
"The discovery of the most reliable as a source stating that Martadipura Kutai is the oldest kingdom in the archipelago is yupa. Yupa amount found in Muara Kaman is 7 pieces yupa. According to the results of a study conducted by J.G. de Casparis (1949), yupa-yupa in Muara Kaman which allegedly a Kutai Martadipura civilization heritage...In yupa-yupa, found inscriptions too, which include posts with Pallawa written in Sanskrit. Letters engraved on yupa thought to have come from the end of the 4th century or early 5th century CE All the monument stone was issued at the command of a leader named Maharaja Mulavarman Naladewa...Mulavarman allegedly are Indonesian people because the name of his grandfather, namely Kudungga (there is also a mention kudunga or kundungga) is the original name of the Indonesian...Kudungga is what is believed to be the forerunner of the first leader of the kingdom of Kutai Martadipura, while Mulavarman is the successor Aswawarman (Kudungga child) which brings the kingdom of Kutai Martadipura... "https://en.wikipedia.org/wiki/Kudungga

Some excerpts from yupa inscriptions:

Kutai Martadipura 

śrīmatah śrī-narendrasya; kuṇḍuṅgasya mahātmanaḥ; putro śvavarmmo vikhyātah; vaṅśakarttā yathāṅśumān; tasya putrā mahātmānaḥ; trayas traya ivāgnayaḥ; teṣān trayāṇām pravaraḥ; tapo-bala-damānvitaḥ; śrī mūlavarmā rājendro; yaṣṭvā bahusuvarṇnakam; tasya yajñasya yūpo ‘yam; dvijendrais samprakalpitaḥ.
This means:
The Maharaja Kundungga, very noble, grand son has, the Aśwawarmman name, like Angśuman (Sun god) foster family is very precious. The Aśwawarmman have three children, such as fire (holy). Leading off the third is the son Mūlavarman king civilized good, strong, and powerful. The feast has Mūlavarman bahusuvarṇnakamtasya yajñasya yūpo ‘yam 'yupa of that yajna' or that stone monument was erected by dvijendra 'brahmana king'.

Vogel notes that the word -isvara in the expression Waprakesvara mentioned in the Mulavarman inscription indicates a shrine or a temple in honor of Shiva. (Vogel, J.ph. 1974. The Yupa inscriptions of King Mulavarman from Koetei (East Borneo ). Leiden: Martinus Nijhoff, The Hague, Dalam BKI tahun 1974. hlm.205).

See: B.Ch.Chhabra, “Expansion of Indo-Aryan Culture during the Pallawa rule”, JASB, 33, 1935; “Three more Yupa inscriptions of King Mulawarman from Kutei (E.Borneo)”,JGIS, XII, 1945:14-39, dicetak ulang dalam TBG, LXXXIII, 1949:370-374.

The word Bapra or Vapra derived from Bappa-bhattaraka indicates a Saiva in the Hindu Agama tradition. Pratimalakshana defines linga as 'layam gacchanti bhutani' -- animate and inanimate get absorbed at the time of dissolution, relatable to the functions of the supreme divinity paramesvara.
ईशान [p= 171,1] /ईशान (and ईशान्/अ) mfn. owning , possessing , wealthy, reigning RV. AV. VS. S3Br. &c; m. a ruler , master , one of the older names of शिव-रुद्र AV. VS. S3Br. MBh. Kum. &c;m. one of the रुद्रs;
m. the sun as a form of शिव; n. light , splendour L.
m. a साध्य; m. N. of विष्णु ;  ईशाना Name of Durga.

S. Kalyanaraman
Sarasvati Research Center
December 25, 2015
Kutai kingdom
Kutai kingdom considered a patterned Hindu kingdom in Indonesia  . Based on several historical sources that have been found , the Kingdom of Kutai in East Kalimantan is expected , precisely in the Mahakam river upstream . Kingdom which stood at around the 4th century it had a fairly extensive territory , which covers almost the entire East Kalimantan even to the whole island of Borneo . Kutai name itself is taken from the name of the town where the discovery of an inscription which indicates the existence of the kingdom , which is in the city of Kutai , East Kalimantan . This is because none of the inscriptions that mention the name of a kingdom centered in East Kalimantan Such .History of the Kingdom of Kutai sourceOne of the main historical sources that indicate the existence of the Kingdom of Kutai is Yupa seven found in Muara Kaman , Kutai . Yupa are stone pillars that are used as animal pole to tie the Kutai people sacrificed to the gods in their beliefs . Posts on this Yupa seventh mennunjukkan that in the 4th century , it has stood a kingdom that has influenced Hinduism in the region . Inscription Yupa using Pallawa and Sanskrit letters also contains information about the kings that ever reigned Kutai .The Kingdom of KutaiHere are some of the most influential kings who had ruled the kingdom of Kutai .

    Kudungga king . Was the first king and founder of the Kingdom of Kutai . If seen from its name which still uses the name of Indonesia , experts argue that during the reign of Hindu influence Kudungga not too strong . This is because the king of the Hindu kingdom in ancient times always use Indian names . Experts also predict that Kudungga at first was a chief . However, after the entry of Hindu influences from India , then the transformed system of governance became royal chiefs . Kudungga then declared himself king and ruled that the transfer of power to do as hereditary monarchy in general .

    Aswawarman king . Aswawarman is the son of Kudungga . Aswawarman referred to as a skilled and powerful king . Aswawarman also who have the greatest merit for the extension of the kingdom of Kutai entire region . Aswawarman carried out by territorial expansion by way Asmawedha ceremony , the ceremonial release of the horse to determine the boundaries of the kingdom. The horses are released this will be followed by a royal warrior empire that will determine in accordance with the extent of the foot trail horse can be found .

    Mulawarman king . Was the son of the greatest king Aswawarman once carrying Kutai Kutai kingdom reached its peak . Under his reign , Kutai people can live safely and prosper . In the inscription Yupa , Mulawarman called a king who was very generous for giving alms in the form of 20,000 cows to the brahmins .
The collapse of the Kutai kingdomKutai kingdom collapsed during the reign of Maharaja Setia Dharma . Setia Dharma himself was killed in battle against Aji Pangeran Panji Anum chances, from the Islamic Sultanate of Kutai . Maharaja Setia Dharma 's assassination marked the end of the kingdom of Kutai Setia Dharma as well as making the last king of the Kingdom of Kutai .
http://jalansamadi.blogspot.in/2013/10/kuati-kingdom.html

Indus Script Corpora of metalwork link with Hariyupiya, Sangam age,Lembuswana, Candi-Sukuh, hieroglyph-multiplexes

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Mirror: http://tinyurl.com/hjpu8q8

Lembuswana, Candi-Sukuh linga are Indus Script hieroglyph-multiplexes, Harappa is Hariyupiya, 'with golden yupa' link with Sangam age; Indus Script Corpora signify metalwork.

Yupa octagonal brick of Bijnor fire-altar, Kalibangan evokes the name Hariyupiya cited in Rigveda, or Harappa 'with golden yupa' and over a thousand Indus Script inscritptions of metalwork. 

See: http://bharatkalyan97.blogspot.in/2015/12/binjor-indus-script-seal-mulavarman.html Binjor Indus Script Seal & Mulavarman yupa inscription, relate to yajna for बहुसुवर्णक, bahusuvarṇaka, 'to possess many gold pieces'.

Griffith notes translating Rig Veda (RV 6.27.5-6) ricas that Hariyupia (having golden sacrificial posts), is the name of a town. It is the scene of the defeat of the Vrivavants by Abhyavartin Caayamana. In aid of Abhyavartin Cayamana, Indra destroyed the seed of Varasikha.At Hariyupia he smote the vanguard of the Vrcivans, and the rear fled freightened"                                                                                    

Like the UJjain coin which shows hieroglyphs of yupa, Hariyupiya may denote a place with yupas, commemorating celebration of yaga-s in fire-altars. Thus, Griffith's interpretation of Hariyupiya as a reference to golden posts in front of fire-altars is valid. 

Yupa tradition together with the performance of yaga-s links Sangam age with Sarasvati-Sindhu civilization.

Nettimaiyar, one of the oldest poets of Sangam period, wonders ,“Oh! Pandya! please tell me whether the number of Yupa posts you installed more? Or the number of enemies you defeated more? Or the praises by the poets more?”

Verse 224 parised the greatest of the Chola kings Karikalan for installing the tall Yupa post. Other Sangam texts also refer to Karikalan, Perunarkilli and Mudukudumi Peruvazuthi who performed many yaga-s and used yupa: Purananuru verses 15 and  224; Maduraikanci line 27; Pathtrupathu 67-10.


See: http://swamiindology.blogspot.in/2012/03/madagascar-india-link-via-indonesia.html

ujjain333
Pallava trace their ancestry to As'vatthama, son of Drona, Brahmin-warrior of Mahabharata. Varman, like Mulavarman of Java (East Borneo) of Kutei kingdom are Brahmin royalty who belong to Bharadvaja gotra.
Translation of a Mulavarman yupa inscription by Vogel

बहु--सुवर्णक [p= 726,1] mfn. costing or possessing much gold R.

“Both the scholarship and the workmanship of our yupa inscriptions ber testimony to a considerable degree of Hindu culture in Eastern Borneo during the period to which they belong.”(Vogel, J.Ph., 1918, The Yupa inscriptions of King Mula-Varman, from Kotei (East Borneo). JSTOR embedded p.218)



The Kutai Prasasti (Yupa) of Mulvarman
The Kutai Prasasti (Yupa) of Mulavarman

These days the former palace of the Sultan of Kutai (or Kutai Kertanagara as some call it) is a museum. 
From left: CDU Vice-Chancellor, Professor Barney Glover, Consulate of the Republic of Indonesia, MrBambang Daranindra, Administrator of the Northern Territory, Tom Pauling, Governor of East Kalimantan, Dr Awang Faroek Ishak and Territory Minister for Business and Employment, Trade, Asian Relations, Rob Knight
Lembuswana, the symbol of Kalimantan, Borneo islands
"The Lembuswana is a legendary creature appearing in Kutai mythology. It is described as being a lion-headed horse with an adorning crown, having an elephant-like trunk, a pair of Garuda wings, and fish-like scales.
In legend of this creature is the guardian of the Mahakam River, and the vehicle of Mulawarman - king of the Kutai kingdom approximately 1500 years ago. It is also the vehicle of princess Karang Melenu.
This creature is a symbol of Kutai Kartanegara city, its head and body symbolizing power of the king, and its trunk symbolizing Ganesha - the god of intelligence." http://cryptidz.wikia.com/wiki/Lembuswana
The word gangga associated with the lembuswana hieroglyph-multiplex is repeated as gangga sudhi 'kanga purification, i.e. smelting process in brazier' in Candi-Sukuh inscription on the 6 foot tall Sivalinga with hieroglyphs of four balls and sword signifying lokhaNDa 'metal implements' The word gangga is signified by kanga 'brazier', as a purifying instrument to create metals and alloys in crucibles.
1292308514967473061'Paksi leman gangga yakso” 'Fattened bird Kanga yaksha'Hieroglyph:  kaṅká m. ʻ heron ʼ VS. [← Drav. T. Burrow TPS 1945, 87; onomat. Mayrhofer EWA i 137. Drav. influence certain in o of M. and Si.: Tam. Kan. Mal. kokku ʻ crane ʼ, Tu. korṅgu, Tel. koṅga, Kuvi koṅgi, Kui kohko]Pa. kaṅka -- m. ʻ heron ʼ, Pk. kaṁka -- m., S. kaṅgu m. ʻ crane, heron ʼ (→ Bal. kang); B. kã̄k ʻ heron ʼ, Or. kāṅka; G. kã̄kṛũ n. ʻ a partic. ravenous bird ʼ; -- with o from Drav.: M. kõkā m. ʻ heron ʼ; Si. kokā, pl. kokku ʻ various kinds of crane or heron ʼ, kekī ʻ female crane ʼ, kēki ʻ a species of crane, the paddy bird ʼ (ē?).(CDIAL 2595) Rebus: kanga 'brazier' 

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 in कालिदास'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
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?

YAJ ʻ sacrifice ʼ: iṣṭá -- 2, íṣṭi -- 3, yajuṣyà -- Add., yajñá -- , yajñíya -- , yājñiká -- .Addenda: yakṣá -- : S.kcch. jakh m. ʻ demi -- god ʼ.(CDIAL 10395)

Mengintip Museum Mulawarman di Tenggarong, Kutai Kartanegara

Selengkapnya :







Lembuswana.jpgLembuswana Ilustrasi Wahana (kendaraan) dewa Kalimantan (Indonesia)
Lembuswana characterized as a lion-headed, wearing the crown (symbolizing the strength of a king who is considered the master of the crown and scepter mark is considered like a god), trunked elephant (symbolizing the god Ganesha deity as intelligence), winged eagle, flaky fish and there on all fours horn / spurs (like chicken feet).



In the Museum located in Kutai Timur Regency there is a collection of sculptures Lembuswana made of brass. Lembuswana made in Burma in 1850 and arrived at the Palace of Kutai in 1900.



4479202052 bce83b8e8c.jpg
Patung Asli Lembuswana



Lembusuana1.jpg
Patung di Pulau Kumala Tenggarong

Lembuswana evokes the memories of Mulavarman of Kertanagara Kutei kingdom.
"It turned out that this fabulous beasty was the Lembuswana, which had a lion’s trunk, an elephant’s trunk, the wings of a Garuda– the mythological bird who was the mount of the Hindu God Vishnu- and the scales of a fish all over its body. Apparently this symbol had been linked to the Kutai royal family as far back as the days of Kutai Kertanagara in the late Hindu-Buddhist era and was also known to the Dayak tribes living in the jungle interior. The creature was said to symbolize the semi-divinity of the Sultan and his family, hence evoking the Hindu notion of the God-king which was associated with Hindu courts everywhere from India to Cambodia. We also learned that a giant statue of the Lembuswana had recently been built on one of the islands out in the Mahakam off Tenggarong. Apparently this creature was still a living symbol of the kingdom of Kutai in the modern era." https://southeastasiankingdoms.wordpress.com/tag/istana-mulavarman/

Lembuswana on Mahakam river in Indonesia is a hieroglyph-multiplex, a hypertext of the type noted by Dennys Frenez and Massimo Vidale: The hieroglyph components are: eagle, lion, elephant, crown. All are relatable rebus to metalwork.

The rebus readings are: eruvai 'eagle' rebus: eruvai 'copper' arye 'lion' rebus: Ara 'brass', karibha 'trunk of elephant'; ibha 'elephant' rebus: karba 'iron', ib 'iron'. 


MB. maüṛa ʻ a kind of tinsel crown ʼ, B. maür ʻ crown, diadem ʼ ODBL 403; Or. maüṛa ʻ crown, hat, nape of neck ʼ; Bi. maur ʻ bridegroom's headdress ʼ; Mth. maur ʻ a kind of headdress ʼ; Bhoj. maür ʻ diadem ʼ; Aw.lakh. maur ʻ bridegroom's crown ʼ; H. mauṛmauṛā m., maulīmaulṛī f. ʻ crown ʼ; OG. maüḍa m. ʻ crown ʼ, G. mɔṛ m. ʻ chaplet worn by females on festive occasions ʼ; Si. muhuḷ -- a ʻ diadem, hair (esp. that bound on the scalp) ʼ, mavul ʻ crown, diadem ʼ.(CDIAL 10144)  Rebus: morakkhaka loha, 'a kind of copper';moraka 'a kind of steel'.



 Metalwork provides a framework for defined meaning of words used in the vernacular and continued use of such words in writing systems using what Frenez and Vidale call 'symbolic hypertexts' as on Indus Script provide the evidence for Indus Script decipherment of Indus Script Corpora as catalogus catalogorum of metalwork. (Dennys Frenez & Massimo Vidale, 2012,Harappa Chimaeras as 'Symbolic Hypertexts'. Some Thoughts on Plato, Chimaera and the Indus Civilization in: South Asian Studies Volume 28, Issue 2, pp. 107-130).


On mED 'copper' in Eurasian languages:

Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).
Ma. <i>mErhE'd</i> `iron'.
Mu. <i>mERE'd</i> `iron'.
  ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).
Ho <i>meD</i> `iron'.
Bj. <i>merhd</i>(Hunter) `iron'.
KW <i>mENhEd</i>
@(V168,M080)
— Slavic glosses for 'copper'
Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
Miedź, med' (Northern Slavic, Altaic) 'copper'.  
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’. 

I suggest that the lanuages which use Med 'copper, metal, iron' are cultural contact areas of Meluhha and in particular, Meluhha metalworkers.

I have suggested, based on the fact the the largest tin belt of the globe is in Mekong river delta, that a cultural sprachbund of tin bronzes and related metalcastings as cultural markers can be traced along the Tin Maritime Road from Hanoi to Haifa which predates the Silk Road by about 2 millennia -- from Dong Son bronze drums to Nahal Mishmar cire perdue arsenical bronze artifacts of 5th millennium BCE.
See: http://bharatkalyan97.blogspot.in/2015/01/meluhha-hieroglyphs-and-candi-sukuh.html Candi Sukuh as a temple for worship of Siva linga evidences remarkable narrative sculptures from Mahabharata heroes, and narrative of metalwork in smelter/smithy/forge. An example is a frieze showing a dancing Ganesha.
The scene in bas relief The scene depicted Bhima as the blacksmith in the left forging the metal, Ganesha in the center, and Arjuna in the right operating the tube blower to pump air into the furnace.
Pl. 1 Relief of smithy at Candi Sukuh, central Java. On the left, a smith forging a weapon. Person on left (Bhima) is surrounded by tools and weapons and is forging a sword.In the center, a dancing elephant-headed figure. Far right, an assistant operating the traditional double-piston bellows of Southeast Asia. 

Pl. 2 Detail of Pl. 1 showing smith grasping tang of weapon with bare hand. Note the blade rests on the smith's knee. There is no hammer in the upraised hand.

Pl. 3 The elephant-headed figure, almost crtainly Ganesha, wears a crown and carries a small animal, probably a dog (jackal looking backwards?)

Pl. 4 Detail showing bone rosary or rattle carried by Ganesha.
<kanpati>  {NB} ``^temple''.  *Loan.  @N0028.  ??not in De. dict. -Ganapati?  #10821.
గణపతి [ gaṇapati ] gaṇa-pati. [Skt.] n. A name of the god Gaṇēsa. వినాయకుడు.
ఇభము [ ibhamu ] ibhamu. (Skt of elephant. Gr. elephas.] An elephant. ఇభయాన  ibhayāna. n. A graceful woman, i. e., a woman with an elephant's easy and luxurious rolling gait. ఇభి ibhi. n. A she-elephant ఇభ్యుడు ibhyuḍu. A ruler, rich man. (A. ii. 125.)
ibbo 'merchant' (Gujarati. Desi).

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. -- √g&rcirclemacr;3]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).



గణము [ gaṇamu ] gaṇamu. [Skt.] n. A flock, multitude, or assemblage, a tribe, class or troop. వర్గము, సమూహము. A prosodial foot, such as భగణము a dactyl. గణములుకట్టు to scan. గణములు పోయినవి or తప్పినవి the metre is imperfect. A troop of inferior deities, considered as Siva's attendants, and under the special superintendence of Gaṇēsa: whence his name గణేశుడు, గణపతి or గణాధిపుడు. A body of troops consisting of 27 war-chariots, 27 elephants, 81 horses and 135 infantry men. గణార్చన gaṇārchana. n. Worship of the demigods attending on Siva.

గాణాపత్యము (p. 0363) [ gāṇāpatyamu ] gāṇā-patyamu. [Skt.] n. The worship of Ganapati. 

గణి [ gaṇi ] gaṇi. [Skt.] n. One who knows the Vedas completely. సాంగముగా  వేదాధ్యయనము చేసినవాడు. 
Candi Sukuh. Gana.

Candi Cetho. Lingga shows a pair of balls at the top of the penis -- to be read rebus as Meluhha hieroglyph composition: lo-khaNDa, penis + 4 balls; Rebus: iron, metalware.

The four balls of the penis are also clearly shown on a 6 ft. tall linga inscribed with 1. a sword; and 2. inscription in Javanese, referring to 'inauguration of the holy ganggasudhi...'



लोखंड [ lōkhaṇḍa ] n (लोह S) Iron. लोखंडाचे चणे खावविणें or चारणें To oppress grievously. 

लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.
लोखंडी [ lōkhaṇḍī ] a (लोखंड) Composed of iron; relating to iron. 2 fig. Hardy or hard--a constitution or a frame of body, one's हाड or natal bone or parental stock. 3 Close and hard;--used of kinds of wood. 4 Ardent and unyielding--a fever. 5 लोखंडी, in the sense Hard and coarse or in the sense Strong or enduring, is freely applied as a term of distinction or designation. Examples follow.
लोखंडी [ lōkhaṇḍī ] f (लोखंड) An iron boiler or other vessel. 2 A large scandent shrub, Ventilago Maderaspatana. Grah.
लोखंडी काव [ lōkhaṇḍī kāva ] f A red ochre or earth.
लोखंडी चुना [ lōkhaṇḍī cunā ] m A term for strong and enduring chunam-work.
लोखंडी छाप [ lōkhaṇḍī chāpa ] m (Iron type.) A term, according to popular apprehension, for Leaden types and for Printing; in contrad. from दगडछाप Lithography.
लोखंडी जर [ lōkhaṇḍī jara ] m (लोखंड & जर) False brocade or lace; lace &c. made of iron.लोह  [ lōha ] n S Iron, crude or wrought.



खांडा [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended.




खांडेकरी  [ khāṇḍēkarī ] m A man armed with the sword called खांडा.

खेंड [ khēṇḍa ] f A sort of sword with a rounded and weighty extremity.
खंडोबा [ khaṇḍōbā ] m A familiar appellation of the god खंडेरावसोळा गुणांचा खं0 (Marathi)
Psht. guṇḍ ʻ round ʼ, Pers. gunda ʻ ball of leaven ʼ, gund ʻ testicle ʼ < *gr̥nda -- NTS xii 263. -- See also gaḍu -- 1, gaṇḍu -- , *giḍa -- , *gilla -- , kanda -- ]1. Pa. gaṇḍa -- m. ʻ swelling, boil, abscess ʼ; Pk. gaṁḍa<-> m.n. ʻ goitre, boil ʼ, NiDoc. gaṁḍa(CDIAL 3997)
गंडा[ gaṇḍā ] m An aggregate of four (cowries or pice). (Marathi) <ganDa>(P)  {NUM} ``^four''.  Syn. <cari>(LS4), <hunja-mi>(D).  *Sa., Mu.<ganDa> `id.', H.<gA~Da> `a group of four cowries'.  %10591.  #10511.<ganDa-mi>(KM)  {NUM} ``^four''.  |<-mi> `one'.  %10600.  #10520. Ju<ganDa>(P)  {NUM} ``^four''.  gaṇḍaka m. ʻ a coin worth four cowries ʼ lex., ʻ method of counting by fours ʼ W. [← Mu. Przyluski RoczOrj iv 234]S. g̠aṇḍho m. ʻ four in counting ʼ; P. gaṇḍā m. ʻ four cowries ʼ; B. Or. H. gaṇḍā m. ʻ a group of four, four cowries ʼ; M. gaṇḍā m. ʻ aggregate of four cowries or pice ʼ.(CDIAL 4001)

gōla1 m. ʻ ball ʼ BhP., °aka -- m. ʻ ball ʼ BhP., ʻ glans penis ʼ Sāy., °likā -- f. ʻ little ball ʼ SāmavBr. (CDIAL 4321) Rebus: kol ‘working in iron’(Tamil)
Rebus: kāṇḍa. Water; sacred water (Samskritam. Tamil)
 
Go<kanDa>(A)  {N} ``^sword''. Gu<ka~Da>  {N} ``^sword''.  *Des.<kaNDa>(GM) `sword'. Re<khanDa>(B)  {N} ``^sword''.  *Des.<khOnDa:>.<kanDa>(A)  {N} ``^sword''.  #15910. <ka~Da>  {N} ``^sword''.  *De.<kaNDa>(GM) `sword'.  @N0670.  #10791. <khanda>>:.  #16501.<pet = khanda>E145  {N} ``a ^sword worshipped as the symbol of an important local deity''.  @B28440.  #16512.<khanDa>(B)  {N} ``^sword''. *Des.<khOnDa:>.  @B07650.  #16521. Re<paTkaNDa>(F)  {N} ``sacred ^Great_^Sword worshipped in Remo ritual as the symbol of an important local diety''.  Cited also as <pet = khanda>E145.
Pl. 6 Linga discovered at Candi Sukuh and now in Museum Pusst, Jakarta (from CJ van der VLie, Report of 1843).Linga is six feet long, five feet in circumference. Old Javanese inscription: 'Consecration of the Holy Gangga sudhi...the sign of masculinity is the essence of the world.' Sword is carved in relief on the shaft of the linga.

mēṇḍhra -- m. ʻ penis ʼ(Samskritam)(CDIAL 9606).Rebus: meḍ 'iron' (Ho.)



ibha m. ʻ elephant ʼ Mn. Pa. ibha-- m., Pk. ibha--, iha--, Si. iba Geiger EGS 22: rather ← Pa.(CDIAL 1587).Rebus: ib 'iron' (Santali) karibha 'trunk of elephant' Rebus: karba 'iron' (Kannada). meḍ  'step', 'dance step' rebus: meḍ 'iron' (Ho.)

K. khāra -- basta f. ʻ blacksmith's skin bellows ʼ; -- S. bathī f. ʻ quiver ʼ (< *bhathī); A. Or. bhāti ʻ bellows ʼ, Bi. bhāthī, (S of Ganges) bhã̄thī; OAw. bhāthā̆ ʻ quiver ʼ; H. bhāthā m. ʻ quiver ʼ, bhāthī f. ʻ bellows ʼ; G. bhāthɔbhātɔbhāthṛɔ m. ʻ quiver ʼ (whence bhāthī m. ʻ warrior ʼ); M. bhātā m. ʻ leathern bag, bellows, quiver ʼ, bhātaḍ n. ʻ bellows, quiver ʼ; <-> (X bhráṣṭra -- ?) N. bhã̄ṭi ʻ bellows ʼ, H. bhāṭhī f. OA. bhāthi ʻ bellows ʼ (CDIAL 9424). Rebus: Pk. bhayaga -- m. ʻ servant ʼ, bhaḍa -- m. ʻ soldier ʼ, bhaḍaa -- m. ʻ member of a non -- Aryan tribe ʼ; Paš. buṛīˊ ʻ servant maid ʼ IIFL iii 3, 38; S.bhaṛu ʻ clever, proficient ʼ, m. ʻ an adept ʼ; Ku. bhaṛ m. ʻ hero, brave man ʼ, gng. adj. ʻ mighty ʼ; B. bhaṛ ʻ soldier, servant, nom. prop. ʼ,.kcch. bhaṛ ʻ brave ʼ; Garh. (Śrīnagrī dial.) bhɔṛ, (Salānī dial.) bhe ʻ warrior ʼ.G. bhaṛ m. ʻ warrior, hero, opulent person ʼ, adj. ʻ strong, opulent ʼ (CDIAL 9588).
Agastya: This statue of Agastya, who is credited with propagating Hinduism in Java, originated from Nagasari Temple from the Prambanan complex in Yogyakarta.Agastya: This statue of Agastya, who is credited with propagating Hinduism in Java, originated from Nagasari Temple from the Prambanan complex in Yogyakarta. - See more at: http://www.thejakartapost.com/news/2013/11/15/javanese-antiquities-paris.html#sthash.pf1sXQyl.dpuf 
Notes on inscriptions

The Junagadh inscription of Rudradaman states that the lake Sudarsana was constructed during the reign of Chandragupta Maurya and its conduits were set up during the time of Asoka. Later on it was repaired, first during the reign of Rudradaman (2nd century A.D.) and subsequently in the Gupta period, during the reign of Chandragupta II (4th century A.D.) as known from their inscriptions. Inscriptions of post-Mauryan period contain terms like sreshthi, sarthavaha and vanija, all denoting traders. In the south Aiyyavole-ainurvar and Disai-ayirattu ainnurruvar were the famous mercantile guilds which carried on trade with other countries, as gleaned from inscriptions. Inscriptions also throw light on the weights and measures used in the ancient and medieval periods. Different stones such as videlvidugu, pandarakkal etc., were in use. Chola inscriptions refer to several taxes such as irai, kadamai, echchoru, vetti, etc., collected from the cultivators.



There are many inscriptions which have stood as a test only for the religious conditions prevailed through the ages. For instance, the Besnagar Garuda pillar inscription of Heliodora (113 B.C.) attests to the strong Vaishnavite movement i.e., Bhagavata cult in north India and its adoption by a foreigner. The Indor copper-plate inscription of Skandagupta, dated in 464-465 A.D is an inscription referring to Sun worship. It adores Sun God under the name Bhaskara, who is described as being worshipped ritualistically by the enlightened Brahmanas, and as the protector of mankind from mental and physical ailments. The Mandasor inscription records the repairs carried out in the year 473-74 A.D. by the guild of silk-weavers to the temple of the Sun God (Dipta-rasmi).

Another very important aspect met with in inscriptions is administration. A unique inscription of Parantaka I from Uttiramerur dated in his 12th regnal year (919 A.D.) contains a detailed account of the rules and regulations for the election to the village assemblies at Uttarameru-chaturvedimangalam. Two very early records, one from Mahasthan, Bogra district, Bangladesh and the other from Sohagaura, Gorakhpur district, Uttar Pradesh, both assigned to 3rd century B.C. speak of the measures taken to deal with occasions of distress among the people. The Mahasthan inscription refers to situations such as the outbreak of floods, fire and drought and states that on such occasions, cash as well as surplus grains stored in the granary were distributed to the people.]

Inscriptions are replete with references to education and learning. For instance, Tirumukkudal inscription of Virarajendra refers to a Vedic college, the subjects studied therein, teachers and their remuneration. So also, Ennayiram inscription of Rajendra I give a detailed list of the subjects taught, teachers' qualifications and allowances received by them.


There are some inscriptions which inform about the prevalence of the tradition of dance and music. Perhaps the earliest reference to a dancer is found from an inscription from Jogimara cave (3rd century B.C.). It mentions one Sutunuka, the temple-dancer (devadasi) and her lover Devadatta, a sculptor from Varanasi. Kudimiyanmalai inscription in Tamil Nadu is one of the earliest inscriptions on music. The inscription is in characters of about the 7th century A.D. i.e., about six centuries before Sarangadeva, the author of the Samgitaratnakara. It records the musical notes as understood and practised during the time of the Pallavas. The high state of development which the art of music had reached in 11th century A.D. can be gathered from an inscription of Chalukya king Vikramaditya from Galaganath, Haveri Taluk and District, Karnataka, which mentions a certain Mokhari Barmmayya, a musician of high order, entitled Battisaraga-bahu-kala-Brahma (skilled in thirty-two ragas).

Inscriptions are also endowed with high literary value. As early as the 1st century A.D. elements of Sanskrit poetry start appearing in the north Indian inscriptions. Thus we come across some ornate metres in the Mora well-inscription of the time of Mahakshatrapa Rajuvula's son Sodasa. In the Junagadh inscription of Rudradaman, dated 150 A.D., we have a clear evidence of the development of the ornate style of Sanskrit prose. The Allahabad prasasti clearly proves that the Sanskrit kavya style was fully developed by the middle of the 4th century A.D. Talagunda inscription of Kadamba Santivarman is another inscription endowed with poetic merit.

Inscriptions are far-flung in time and space. It is noteworthy that some inscriptions reflect the ethos and mores of the period under which they were written. An inscription from Heragu in Hassan district, Karnataka, belonging to the Hoysala dynasty (1217 A.D.) gives the names of some members of a Kashmiri family which had migrated to that village in Karnataka from Bhadrahu in Gula-vishaya, a sub-division of Krama-rajya in Kasmira-rashtra. It is interesting to note that this migrant Kashmiri family contracted marriage alliances with the local families.

Ancient India also had cultural and trade contacts with southeast Asian countries like Java, Sumatra, Borneo, etc. A large number of inscriptions found in southeast Asian countries, which are very much akin to Indian epigraphs in respect of their language and script. One of the yupa inscriptions of Mulavarman from Kutei, Borneo refers to the setting up of a yupa at Vaprakesvara by the Brahmanas and also refers to gifts made by the king. This inscription amply proves that the Indian traditions and customs were prevalent in far flung areas.
Source(s):
http://asi.nic.in/asi_epigraphical_sans_...https://in.answers.yahoo.com/question/index?qid=20070418190314AAWXi84

THE YUPA INSCRIPTIONS OF KING MULAVARMAN, FROM KOETEI (EAST BORNEO)

J. Ph. VOGEL
Bijdragen tot de Taal-, Land- en Volkenkunde van Nederlandsch-Indië
Deel 74, 1/2de Afl. (1918), pp. 167-232

The Government cannot gag Kirti Azad -- Ram Jethmalani. NaMo, nationalise kaalaadhan.

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The Government cannot gag Kirti Azad because it is embarrassed by what he confided to the nation

Friday 25 December 2015

Aristotle proclaimed proudly that man is a political animal. Were he witness today, as we in India, to the behaviour of one of the most powerful political animals of our country, he would undoubtedly have done further analysis regarding different categories of political animals, and the most bestial in the herd.

People of this country must realize that we are not merely a democracy, but a democratic republic. The difference between the two is profound and crucial, which many informed citizens, or even the intelligentsia may not be aware of.
In a democracy, a majority of the elected representatives are the custodians of human freedom and all political power. In a republic, it is the ‘people’ who are sovereign. They are free to speak up, and even if they are wrong, they can be corrected by wiser citizens, and the will of the majority will prevail. Even a Parliament, almost wholly controlled by one political party, cannot suppress free speech. Yes, free speech can be subjected to some restrictions, but they have to be extremely reasonable.Unreasonable restrictions can be struck down as unconstitutional, and become unenforceable and void. It is a primary constitutional requirement that restriction on free speech should be for promotion of carefully formulated objectives, expressly sanctioned by the constitution. In addition, they must be reasonable, and are liable to be struck down, if the courts find them excessive in their reach.

No political party can suppress free speech of its members merely on the ground that it is ‘embarrassed’ by what is openly spoken and declared. Yes, it has a right to protest against a corrupt minister, or even a minister reasonably suspected of being corrupt, or a minister having corrupt antecedents. Democracy must not tolerate powerful ministers who are reasonably suspected to bear a questionable character. Only those persons about whose moral character and integrity the people are completely certain, must be put in responsible positions of power

Our Finance Minister proved long ago that he did not bear this impeccable moral stature. What Kirti Azad is stating vocally today is what he has been repeating during the last 10 years. No denial, much less a reasoned refutation, has been attempted by the gentleman, who now belatedly protests his innocence.

The recent statement of the Prime Minister is certainly not a certificate of good character for the Finance Minister; it is only a hope that he will survive as LK Advani once did. Many saw a sting in the tail in Modi’s ambiguous statement involving LK Advani. But, Modi was not prepared to assert that everything alleged by Azad is false, or even just wrong. The hint to the Minister is to resign as Advani did want to when I initially refused to appear for him.

I may not be in Modi’s ‘who is who’ list, but that does not mean I do not know what is what. I have seen Arun Jaitley’s whole career based on backbiting, secret scheming and dirty conspiratorial fabrications, against those whom he sees as obstacles to his political ambitions. Friends without mind, who do not mind following his diktat are available aplenty.

Well, all political animals play the same game of political cards, and of course, the most coveted card is the joker. And that is what the Finance Minister is looking more and more like, as each day passes. When the time comes for his future journey, he will have a terrific advantage. He will only have to go downhill. This wont take much time - fortunate for him in a way.

The earlier definition of an honest politician was one who when bought remained bought. Unfortunately, some today do not even have this basic qualification. They can be bought often. And the world is not round anymore. It has turned immensely crooked.

I have over the last decade closely watched and written extensively about India’s fraudulent ratification of the UN Convention against Corruption in 2011, a good 7 years after we signed it; our complete indifference and lack of political will to obtain the list of Indian black money holders from Germany, even after Germany offered to provide the information. That was the Sonia - Manmohan-Chidambaram Government.

Even after the Supreme Court ordered that the correspondence with Germany on this matter be released to me, all I got after a delay of 3 years, were unrelated 17 letters dealing with DTAT, with names and addresses of correspondents blacked out by indelible black ink. This was the Modi- Jaitley Government

Clearly, the present Finance Minister is in conspiracy with the previous one. He has made no effort to approach the German Government, as was confirmed to me when I visited Germany last year.

The blacked out letters, after some scrutiny, indicate that two officials are involved in this corrupt operation. Anita Kapoor, former Chairman CBDT, is said to have landed a cushy job in the same Finance Ministry after retirement; KV Chowdhery, also former Chairman, CBDT, after a criticial visit to Paris, was appointed CVC by a fraud on the Constitution and the Court. This will soon be reported to it. The continuity in the Finance Ministry after Chidambaram remains, thanks to Jaitley. I do not have to prove this obvious fraud.

The whole nation has heard Amit Shah, and his famous ‘election jumla’ statement regarding repatriation of black money. Modi has not repudiated it. I had to buy space in the Indian Express in April 2015 to inform the people of these criminal conspiracies.

How this crooked political mafia could swing the suspension of Kirti Azad, who is speaking the truth, is yet another shocker. They appear to have forgotten their humiliating defeat in Bihar all too soon.

But the question on everyone’s mind is – did Kirti Azad’s suspension have approval from the man above? I hope his words will be free from any ambiguity.

http://ramjethmalanimp.blogspot.in/2015/12/the-government-cannot-gag-kirti-azad.html?spref=tw
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