Contribution of Indus Script tradition 1. to 'cash' economy of the ancient world (World Monetary history) & 2. as a writing system to signify metalwork

March 29, 2016, 3:11 am

≫ Next: Uttarakhand floor test all MLAs to participate on March 31

≪ Previous: Indus Script hieroglyphs on early Magadha pre-karshapana 5 punch-marked coins ca. 6th cent BCE deciphered as metalwork catalogues

$

0

0

Mirror: http://tinyurl.com/zd4aatp

The note discusses the possibility that Indus Script cipher tradition evidenced in Sanchi/Bharhut sculptural friezes also provides for signifying kārṣāpaṇá, 'Eng.cash, Kannada kāsu, copper pice'. The copper pice is so-called because it is derived in a smelting process from a fire-pit, straits: kārṣū, kāci. Such a smelting process is, perhaps, signified on a Harappa tablet h386 by a unique hieroglyph of two horizontal lines which occupies the entire field of one side of a tablet. 

In the expression,kārṣāpaṇá, paṇá, 'equivalent of 80 cowries'(Sinhalese) is a semantic determinant of the karsha as a 'coin, a unit of exchange value'.

It is a debatable argument in linguistics if the Old Persian word karsha is cognate with and derived from the Samskrtam word, karsha, 'unit of weight, coin unit of money'. Since the rebus reading of 'khambhaṛā' (Lahnda) rebus: kammaTa 'mint, coinage' (Kannada) is attested in some Indus Script orthography of focus on 'fish-fins', it is likely that the word karsha meaning 'coin' was also a gloss in the metalwork lexis of Prakrtam, the spoken forms of the word. Some indications are provided by the phonetic forms in languages of the Indian sprachbund, such as: Ko. ka·c rupee. To. ko·s id. Ka. 
kāsu the smallest copper coin, a cash, coin or money in general. Tu. kāsů an old copper coin worth half a pie, a cash. Te. kāsu a cash, a coin in general, a gold coin, money. Go. (Ko.) kāsu pice -- all traceable to the word karsha 'a weight of silver or gold equal to ¹⁄₄₀₀ of a tulā' (Samskrtam).

There is a possibility that the hieroglyph which could read rebus as kāci was an orthograph signifying 'furrow, ploughing'. Such a signifier is present in an Indus Script inscription: Harappa tablet h386.

The hieroglyphs 'fish', 'water-carrier PLUS rim of jar', three linear strokes are read rebus:

aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS  'khambhaṛā' (Lahnda) rebus: kammaTa 'mint' (Kannada)
kuTi 'water-carrier' rebus: kuThi 'smelter' PLUS karNika 'rim of jar' rebus: karNI 'supercargo', karNIKa 'writer, engraver, account-keeper.
On side h386E, two horizontal lines signify a furrow which can be read rebus: karṣūˊ -- f. ʻ furrow, trench ʼ (Vedic) rebus: karsha 'a unit of weight, a coin'.

HARP team has discovered a potsherd at Harappa with Indus Script dated to ca. 3300 BCE making this perhaps one of the earliest writing systems of the world. Contemporary to this discovery is Proto-Elamite script which was used in southwestern Iran between c. 3400-2800 BCE,  (See discussion at http://bharatkalyan97.blogspot.in/2013/07/ancient-near-east-transition-fro-bullae.html) Bronze Age revolution in metal crafts was complemented by a writing system to create document innovative processes in such metal crafts. (This five-petal flower may signify tabernae montana as a hieroglyph read rebus: tagaraka'fragrant flower' (Samskrtam) rebus: tagara'tin' (a mineral which alloys with copper to produce a hard alloy of bronze for castings, tools, weapons).

The Bronze Age metallurgical discoveries of alloying and cire perdue (lost-wax) created an industrial revolution. The production of metal implements, weapons, pots and pans. The production of metal coins (copper, silver, gold) also rtransformed an exchange economy based on barter transactions into a market economy based on the use of 'money or cash'.

There is considerable force in the argument that signs incised on pottery in the Pre-Harappan period did develop as glyphs used on Indus writing. Lal has shown that the signs continued in use after the Indus writing ceased to be used. It is not unreasonable to build on the assumption that the potter's marks provided sign-substratum  for Indus writing and also for Proto-Elamite writing. Thus, Potts makes a reasoned statement: "If there is any connection between the corpus of Proto-Elamite signs used at the beginning of the third millennium and the later Harappan signary, I suggest it is via the medium of the potter's marks in use throughout the Indo-Iranian borderlands which absorbed certain signs of ultimate Proto-Elamite origin, some of which were in time incorporated into the Harappan script." (Potts, D.T., 1981, The Potter's Marks of Tepe Yahya, in: Paleorient, Vol. 7, Issue 7-1, p.116)..

Thus, not only World Monetary History is born but a writing system evolved to describe the metallurgical techniques and mineral resources used to create metal products of exchange value.

The roots of the word 'cash' in English are traced to Indus Script hieroglyph writing tradition.

See: Indus Script hieroglyphs on early Magadha pre-karshapana 5 punch-marked coins 6th centBCE deciphered http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyphs-on-early.htmlThe decipherment based on Indus Script cipher establishes the continuum of a writing system into the historical periods and use in ancient mints starting with pre-Mauryan janapadas.

Such karshapana, ancient coins of ca. 7th cent. BCE are identified by the punch-marks which are Indus Script hieroglyphs.

The English word 'cash' is derived from  karsha. (C.A.S.Williams. Chinese Symbolism and Art Motifs. Tuttle Publishing. p. 76).So is, kAsu of Tamil, Malayalam, Kannada. D.R.Bhandarkar.indicates that nishka, krishnala (Vedic terms) as karshapana were stored in treasuries and the possibility that such coins were in vogue ca. 10th cent. BCE. (Bhandarkar, DR, Lectures on Ancient Indian Numismatics. Asian Educational Services. pp. 55, 62, 79).

(Arabo-Pers. sekka), standardized units of metal used as a medium of exchange, first introduced into Persia by the Achaemenid Darius I (521-486 B.C.E.)"... a papyrus document from Egypt dating from the 5th century B.C.E. confirms that merchants paid “according to the stone (weight) of the king”: 1 kereš (O.Pers. karša) = 10 shekels, 1 shekel = 4 quarters, 1 quarter = 2 dānaka (O.Pers. *dānaka; attested in El. da-na-kaš; Cameron, p. 132; > Gk. dana′kē “obol,” i.e., one-sixth drachmḗ “drachma” > Mid.Pers. dāng, Pers. dāng“one-sixth”; Horn, Etymologie, no. 536; Bivar, p. 622)..." http://www.iranicaonline.org/articles/coins-and-coinage-

Thus, it is seen that shekel which became a currency unit was preceded by  kereš (O.Pers. karša) = 10 shekels. This  kereš (O.Pers. karša) = 10 shekels, is related to the Samskrtam word karsha which meant 'a weight of silver or gold equal to ¹⁄₄₀₀ of a tulā' (Samskrtam).

I suggest that the Latin and French cognate words together with Old Persian karša are derived from the Samskrtam gloss. Latin: capsa 'money box', French caisse, English cash, Portuguese caixa are thus derivatives from Samskrtam and OPersian karsha, 'a particular weight, money unit'.

kārṣāpaṇá m.n. ʻ a partic. coin or weight equivalent to one karṣa ʼ. [karṣa -- m. ʻ a partic. weight ʼ Suśr. (cf. OPers. karša -- ) and paṇa -- 2 orāpana -- EWA i 176 and 202 with lit. But from early MIA. kā̆hā°]Pa. kahāpaṇa -- m.n. ʻ a partic. weight and coin ʼ, KharI. kahapana -- , Pk. karisāvaṇa -- m.n., kāhāvaṇa -- , kah° m.; A. kaoṇ ʻ a coin equivalent to 1 rupee or 16 paṇas or 1280 cowries ʼ; B. kāhan ʻ 16 paṇas ʼ; Or. kāhā̆ṇa ʻ 16 annas or 1280 cowries ʼ, H. kahāwan, kāhan, kahān m.; OSi. (brāhmī) kahavaṇa, Si. kahavuṇa, °vaṇuva ʻ a partic. weight ʼ.kāˊrṣāpaṇika ʻ worth or bought for a kārṣāpaṇa ʼ Pāṇ. [kārṣāpaṇá -- ]Pa. kāhāpaṇika -- , Or. kāhāṇiã̄.(CDIAL 3080, 3081) Ta. kācu gold, gold coin, money, a small copper coin. Ma. kāśu gold, money, the smallest copper coin. Ko. ka·c rupee. To. ko·s id. Ka. kāsu the smallest copper coin, a cash, coin or money in general. Tu. kāsů an old copper coin worth half a pie, a cash. Te. kāsu a cash, a coin in general, a gold coin, money. Go. (Ko.) kāsu pice (< Te.; Voc. 663). / ? Cf. Skt. karṣa-. (DEDR 1431) kāsi 'coin' (Sinhalese). 

The early Portuguese writers represented the native word by cas, casse, caxa, the Fr. by cas, the Eng. by cass: the existing Pg. caixa and Eng. cash are due to a natural confusion withCASH n.1. From an early date the Portuguese applied caixa (probably on the same analogy) to the small money of other foreign nations, such as that of the Malay Islands, and especially the Chinese, which was also naturally made into cash in English. (Yule)" ("Cash, n.²". Oxford English Dictionary (3rd ed.). Oxford University Press. September 2005.)The English word "cash," meaning "tangible currency," is an older word from Middle French caisse.(Douglas Harper (2001). "Online Etymology Dictionary"). 

https://en.wikipedia.org/wiki/Cash_(currency) In Latin, capsa means a “money box” (cf. OPers. Kshatrapavan = Satrap “an ancient Persian commercial and state confinement”) and a cognate word is: case which refers to a box. French word caisse means “money in hand, coin.” Old Persian karsha means  “a unit of value equivalent to one cash coin” and "was first employed during the reign of Cyrus II followed by the establishment of the “formal” banking system and around the same time of the establishment of the credit and checking unions during the reign of Darius I who also minted the first face-coins."  (Jean-Luc Dumont. "The Establishment of the Banking “Industry” – a 2500 Year Old Aryan ICH and Commercial Industry" |https://docs.google.com/document/d/1USeT6-9KtdA0zdQ73GGh-N_k9JYvUW7y-8zDnPdIhcM/edit?usp=sharing,  ACHF, 2016.)

Kārshāpaṇa (Sanskrit: कार्षापण) is attested by Panini ca. 6th cent. BCE and in Samvidhān Brāhmana, S'atapatha Brāhmana, Dhammapada verse 186. They are generally silver pieces with 5 or 6 punch-marks (Indus Script hieroglyphs) and attested in mints of many early janapadas of Bharatam. Patanjali refers to it as a coin: कार्षापणशो ददाति "he gives a Karshapaṇa coin to each" or कार्षापणम् ददाति "he gives a Kārshāpaṇa",  The suffix – शस् taken up by Pāṇini in Sutra V.iv.43 indicates that a coin is referred to. "During the Mauryan Period, the punch-marked coin called Rūpyārūpa, which was same as Kārshāpaṇa or Kahāpana or Prati or Tangka, was made of alloy of silver (11 parts), copper (4 parts) and any other metal or metals (1 part)." https://en.wikipedia.org/wiki/Karshapana While  Kārshāpaṇa were of copper, Dharana or Purana were of silver and Suvarna were of gold. PaNa were punch-marked coins. The Vedic weight of karsha was equal to 16 mAshas. Lakshanadhyaksha of Arthas'astra could identify the symbols (hieroglyphs); he was a Rupadarshaka, 'examiner of coins'. 

Thanks to Indus Script cipher, it is now possible to pin-down the meanings of the punch-marks which are a continuum of Indus Script hieroglyph tradition.

कार्षा* पण[p= 276,3]mn. (g. अर्धर्चा*दि ; cf. कर्ष्) " weighing a कर्ष " , a coin or weight of different values (if of gold , = 16 माषs » कर्ष ; if of silver , = 16 पणs or 1280 Kowries , commonly termed a Kahan ; if of copper , = 80 रक्तिकाs or about 176 grains ; but accord. to some = only 1 पण of Kowries or 80 Kowries) Mn. viii , 136 ; 336 ; ix , 282(ifc.) worth so many कार्षापणs Pa1n2. 5-1 , 29n. money , gold and silver L. कर्ष [p=260,1]mn. a weight of gold or silver (= 16 माषs = 80 Rettis = 1÷4 पल = 1÷400 of a तुला = about 176 grains troy ; in common use 8 Rettis are given to the माष , and the कर्ष is then about 280 grains troy) Sus3r. VarBr2S. &c

कर्ष mn. Terminalia Bellerica (also called अक्ष q.v.) L.
"The nuts of the tree are rounded but with five flatter sides. It seems to be these nuts that are used as dice in the epic poem Mahabharata. A handful of nuts would be cast on a gaming board and the players would have to call whether an odd or even number of nuts had been thrown." ( Bennett, Deborah (1999). Randomness. Boston: Harvard University Press. p. 24.). A synonym for कर्ष mn. Terminalia Bellerica in Samskrtam is अक्ष

Terminalia bellirica hanging fruit at 23 Mile near Jayanti in Buxa Tiger Reserve in Jalpaiguri district of West Bengal, India. 

The seed of this nut is used as a die in the game of dice. akSa also means a sensual perception, a law-suit, hence अक्ष--पटल [p= 3,2] n. court of law depository of legal document Ra1jat.

Hieroglyphy: furrow, trench: कर्ष [p=259,3] m. ( √कृष्) , the act of drawing , dragging Pa1n2.(with and without हलस्य) ploughing , agriculture A1p. Ya1jn5. ii , 217 karṣí ʻ furrowing ʼ Kapiṣṭh. [Cf. kāˊrṣi -- ʻ ploughing ʼ VS., karṣūˊ -- f. ʻ furrow, trench ʼ ŚBr.: √kr̥ṣ] Pr. kṣe_ ʻ plough -- iron ʼ, Paš. kaṣí ʻ mattock, hoe ʼ; Shum. káṣi ʻ spade, pickaxe ʼ; S. kasī f. ʻ trench, watercourse ʼ; L. kass m. ʻ catch drain, ravine ʼ, kassī f. ʻsmall distributing channel from a canalʼ; G. kã̄s m. ʻartificial canal for irrigationʼ -- Dm. Phal. khaṣīˊ ʻ small hoe ʼ perh. X khánati. Addenda: karṣí -- (kaṣĭ̄ -- f. ʻ spade ʼ lex.). [Like Av. karšivant<-> ʻ cultivator ʼ < IE. *kworsi -- with alternative development of IE. o ~ kāˊrṣi -- , kārṣīvaṇa -- ʻ cultivator ʼ T. Burrow, BSOAS xxxviii 63, 70; cf. karṣūˊ -- ~ †*kārṣū -- Turner BSOAS xxxvi 425](CDIAL 2909) *kārṣū -- f. ʻ furrow, trench ʼ ~ karṣūˊ -- with dial. IA. a for ā < IE. o as in Av. karšū ʻ ploughed land ʼ and in karṣí -- ~ kāˊrṣi -- T. Burrow BSOAS xxxviii 70, Turner BSOAS xxxvi 429. Pa. kāsū -- in aṅgāra -- kāsū -- f. ʻ fire -- pit ʼ.(CDIAL 3081a).Ta. kāci difficulty, straits (< Te.). Ka. gāsi, ghāsi trouble, fatigue, pain. Tu. gāsi id. Te. gāsi id.; gāsincu to harass, vex, fatigue, exhaust; gāsil(l)u to labour, be wearied, be harassed. (DEDR 1430)

Kasi and Kasī (f.) [fr. kasāti] tilling, ploughing; agricul- ture, cultivation M ii.198; S i.172, 173=Sn 76 sq.; Vin iv.6; Pv i.56 (k˚, gorakkha, vaṇijjā); PvA 7; Sdhp 390 (k˚, vaṇijjā); VvA 63. -- ˚ŋ kasati to plough, to till the land J i.277; Vism 284.

   -- kamma the act or occupation of ploughing, agriculture J ii.165, 300; iii.270. -- karaṇa ploughing, tilling of the field PvA 66; -- khetta a place for cultivation, a field PvA 8 (kasī˚); -- gorakkha agriculture and cattle breeding D i.135; -- bhaṇḍa ploughing implements DhA i.307. Kasati [kṛṣ or karṣ] to till, to plough S i.172, 173=Sn 80; Th i.531; J i.57; ii.165; vi.365. -- kassate (3rd sing. med.) Th 1, 530. -- pp. kattha (q. v.) Caus. II. kasāpeti Miln 66, 82; DhA i.224.Kasana (nt.) ploughing, tilling J iv.167; vi.328, 364; Vism 384 (+vapana sowing). Kasita (pp. of kasati) ploughed, tilled Anvs 44; -- a˚ un- tilled ibid. 27, 44. -- Cp. vi˚. Kassaka [fr. kasati] a husbandman, cultivator, peasant, farmer, ploughman D i.61 (k˚ gahapatiko kārakārako rāsi -- vaḍḍhako); A i.241; A. i.229, 239 (the three duties of a farmer); S i.172=Sn 76; iii.155 (v. l. for T. kasaka); iv. 314; Vin iv.108; Bdhd 96; DA i.170; often in similes, e. g. Pv i.11; ii.968 (likeness to the doer of good works); Vism 152, 284, 320. -- vaṇṇa (under) the disguise of a peasant S i.115 (of Māra). (Pali)

Square coins are carried as a banner by the elephant rider in the middle. These are kahapana (Pali). This is a proclamation of the coinage work carried out by the artisans of Bharhut..

Square coins are spread out in the Jetavana narrative at Bharhut. Anathapindika covers Jetavana with coins (Bharhut, Brahmi text: jetavana ananthapindiko deti kotisanthatena keta. Also called Sudatta, he was a banker (setthi) of Sāvatthi who became famous because of his unparalleled generosity to the Buddha. His first meeting with the Buddha was during the first year after the Enlightenment, in Rājagaha (the story is given in Vin.ii.154ff; SA.i.240ff, etc.), whither Anāthapindika had come on business.These square coins shown on Bharhut sculpturl frieze are: Kahāpaṇa [doubtful as regards etym.; the (later) Sk. kārṣāpaṇa looks like an adaptation of a dial. form] 1. A square copper coin M ii.163; A i.250; v.83 sq.; Vin ii.294; iii.238; DhsA 280 (at this passage included under rajataŋ, silver, together with loha -- māsaka, dārumāsaka and jatu -- māsaka); S i.82; A i.250; Vin ii.294; iv.249; J i.478, 483; ii.388; Mhvs 3014. The extant specimens in our museums weigh about 5/6 of a penny, and the purchasing power of a k. in our earliest records seems to have been about a florin. -- Frequent numbers as denoting a gift, a remuneration or alms, are 100,000 (J ii.96); 18 koṭis (J i.92); 1,000 (J ii.277, 431; v.128, 217; PvA 153, 161); 700 (J iii.343); 100 (DhA iii.239); 80 (PvA 102); 10 or 20 (DhA iv.226); 8 (which is considered, socially, almost the lowest sum J iv.138; i.483). A nominal fine of 1 k. (=a farthing) Miln 193. -- ekaŋ k˚ pi not a single farthing J i.2; similarly eka -- kahāpaṇen' eva Vism 312. -- Various qualities of a kahāpaṇa are referred to by Bdhgh in similes at Vism 437 and 515. Black kahāpaṇas are mentioned at DhA iii.254. -- See Rh. Davids, Ancient Measures of Ceylon; Buddh. India, pp. 100 -- 102, fig. 24; Miln trsl. i.239 -- gabbha a closet for storing money, a safe DhA iv.104; -- vassa a shower of money Dh 186 (=DhA iii.240).(Pali)

See: http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyphs-on-early.html 

Indus Script hieroglyphs on early Magadha pre-karshapana 5 punch-marked coins ca. 6th cent BCE deciphered as metalwork catalogues

paṇa1 m. ʻ wager ʼ Yājñ., ʻ stake, wages ʼ MBh. [Cf. páṇatē ʻ barters ʼ ŚBr. (EWA ii 194 < *pr̥ṇāti?), Pa. paṇati ʻ bargains, bets ʼ. -- √paṇ]Pk. paṇa -- ʻ wealth, bet, promise ʼ; A. pan ʻ wager, vow ʼ; B. pan ʻ oath, promise, dowry ʼ; Or. paṇa ʻ vow ʼ; OMth. pana ʻ stipulation, bargain ʼ; H. pan m. ʻ promise ʼ; OG. paṇa m. ʻ stake ʼ; G. paṇ n. ʻ promise ʼ; M. paṇ m. ʻ bet, promise ʼ; Si. paṇa ʻ bet, wages ʼ.*agryapaṇa -- , *gharapaṇa -- .paṇa2 m. ʻ a coin (= 80 cowries) ʼ Mn. [← Austro -- as. EWA ii 196 with lit.]S. paṇu m. ʻ a dry measure ʼ; Si. paṇa ʻ a measure of account in cowries (= 80) ʼ.(CDIAL 7714, 7715).

Hieroglyph: drum: paṇava m. ʻ drum ʼ MBh. (hypersanskritism in pra- ṇava -- m. lex.). [← Drav. T. Burrow TPS 1946, 10]Pa. Pk. paṇava -- m. ʻ small drum ʼ, Si. paṇā.(CDIAL 7716) Ta. paṇai drum, large drum. Ka. paṇe, paṇa small drum or tabor. / Cf. Skt. paṇava- id.; Turner, CDIAL, no. 7716.(DEDR 3893)

S. Kalyanaraman
Sarasvati Research Center
Mrch 29, 2016

---

Uttarakhand floor test all MLAs to participate on March 31

March 29, 2016, 4:17 am

≫ Next: In memoriam: Raghavendran Ganeshan of Infosys martyred in Brussels. What is corporate social responsibility of Infosys?

≪ Previous: Contribution of Indus Script tradition 1. to 'cash' economy of the ancient world (World Monetary history) & 2. as a writing system to signify metalwork

$

0

0

Published: March 29, 2016 14:53 IST | Updated: March 29, 2016 16:03 IST  Dehradun, March 29, 2016

Uttarakhand High Court orders floor test in Assembly on March 31

• Kavita Upadhyay

The Hindu

Former Uttarakhand Chief Minister Harish Rawat along with Congress leaders after meeting Governor K.K. Paul at Raj Bhawan in Dehradun on Monday. Photo: Virender Singh Negi

The court also allowed the Congress rebel MLAs to participate in the trial of strength.

Giving another chance to former Uttarakhand Chief Minister Harish Rawat to prove his majority in the Uttarakhand Assembly, the Nainital High Court, on Tuesday, ruled that fresh voting would take place in the Uttarakhand Assembly on March 31 where Mr. Rawat’s claim of having majority support will be up for a floor test.

Mr. Rawat had moved the High Court against President’s Rule on Monday. The hearing carried on until Tuesday where the court ruled that Mr Rawat will have to prove his majority in the State Assembly on March 31.

On March 18, the BJP, which is the Opposition party in the Assembly, along with nine Congress MLAs had voted against the Appropriation Bill. While Mr. Rawat claims that the Appropriation Bill was “constitutionally” passed in the Assembly, the BJP’s Central leadership had claimed that the Speaker had shown the Bill as “passed” while majority of the 67 MLAs in the Assembly had voted against the Appropriation Bill.

While the Governor has asked Mr Rawat to prove his majority in the Court on March 28, the exercise was not carried out as President's Rule was imposed in the State on March 27.

Senior lawyer and Congress leader Abhishek Manu Singhvi, who was representing Mr. Rawat in the High Court, said, "Only the date of the floor test has changed from March 28 to March 31. The nine rebel Congress MLAs will also vote. However, their votes will be counted separately and the final decision based on the voting will be taken by the Nainital High Court."

The nine MLAs were later suspended by Uttarakhand Assembly Speaker Govind Singh Kunjwal. However, the High Court, in its decision, has stated that the nine MLAs too shall vote in the Uttarakhand Assembly on March 31 but their voting shall be done under the supervision of the Registrar General who will be present as an observer during the voting.

Printable version | Mar 29, 2016 5:13:22 PM | http://www.thehindu.com/news/national/other-states/uttarakhand-high-court-orders-floor-test-in-assembly-on-march-31/article8409075.ece

Uttarakhand high court orders floor test on March 31, all MLAs to participate

PTI | Mar 29, 2016, 02.42 PM IST
All MLAs, including the nine ruling Congress rebels, can participate in the trial of strength but the votes of the disqualified legislators will be kept separate.

NAINITAL: The Uttarakhand high court on Tuesday ordered a floor test in the assembly on March 31, giving a new turn to the political events in the state where President's Rule was imposed on Sunday.

They will be taken into account subject to final outcome of the writ filed petition by chief minister Harish Rawat challenging the imposition of President's Rule, senior Supreme Court lawyer and Congress leader Abhishek Manu Singhvi told reporters after the second day of the hearing here.

Harish Rawat had on Monday mounted a legal challenge to the imposition of President's rule and demanded its revocation as Congress sparred with the BJP accusing the Centre of toppling its government ahead of a floor test in the assembly.

Harish Rawat had on Monday moved the high court seeking revocation of President's Rule in the state and restoration of his government, terming the Modi government's decision as a "brazen display of high-handedness and authoritarianism".

Centre had on Sunday imposed President's Rule in the state citing a constitutional breakdown in the wake of a rebellion in the ruling Congress.
http://timesofindia.indiatimes.com/india/Uttarakhand-high-court-orders-floor-test-on-March-31/articleshow/51598027.cms

In memoriam: Raghavendran Ganeshan of Infosys martyred in Brussels. What is corporate social responsibility of Infosys?

March 29, 2016, 5:31 am

≫ Next: Farewell to mortal remains of Raghavendran Ganeshan CORPORATE Infosys tribute to the atman shd be $50 mn to Ganeshan family after SheldonP returns his dole $5.8m

≪ Previous: Uttarakhand floor test all MLAs to participate on March 31

$

0

0

Our hearts reach out to the members of Ganeshan's family as we offer our condolences and sincere prayers for their solace as Ganeshan's atman unites with the paramaatman.

Ganeshan is a martyr to the noble ideals of service cherishing the dignity provided by the ethics of liberty and freedom. Such ideals are continually being attacked by mindless jihadi terror.

Aha, Infosys has become a global MNC. So, the company exposes its employees to world-wide Jihadi terror risks. What is the social responsibility of Infosys which doles out Bharatiya wealth to a commie Pollock? 

Ganeshan has become a martyr to the cause of freedom and liberty exemplified by his presence as a worker for a global company. It is time to demand social accountability of corporates.

Such an accountability audit will call for reconsideration and withdrawal of the dole-out ($5.8m) to a commie for a RohanMurty library and to demand ethical distribution of Bharatiya wealth to employees AND to the nation, who contribute to such wealth creation. It should be noted that employees of Bharatiya MNCs expose their employees to risks in regions riddled with Jihadi terror activities.

-- Kalyanaraman

Print

Missing Infosys employee confirmed dead after Brussels attack

By: Express News Service | New Delhi / Bengaluru | Updated: March 29, 2016 11:49 am

Infosys employee Raghavendran Ganesh.

Belgian authorities have identified Raghavendran Ganeshan, an Infosys employee who had been missing ever since the terror attacks in Brussels on March 22, as one of the blast victims, External Affairs Minister Sushma Swaraj said Monday.

“He was travelling in the same coach of the metro in which the suicide bomber blew himself up,” Swaraj wrote on Twitter. “His mortal remains are being handed over to the family in Brussels.”

Read: PM Modi condoles  Raghavendran Ganeshan’s death

Sources said Ganeshan’s body could not be identified earlier and that Belgian hospital authorities had to take the family’s help for identification. Ganeshan’s parents and brother had travelled to Brussels after the attack.

RIP Raghvendran!The Belgian authorities hv identified Raghvendran as 1 of d victims f barbarian terror attacks of March 22.@SushmaSwaraj 1/2

— India in Belgium (@IndEmbassyBru) March 28, 2016

Mortal remains r in process of being handed2family f Raghvendran to be taken 2 India from Amsterdam airport.@gauravcsawant@aditi_tyagi

— India in Belgium (@IndEmbassyBru) March 28, 2016

At least 35 people were killed and over 300 wounded after two bombs exploded at Brussels airport and one at Maelbeek metro station.

Ganeshan visited India last month when his wife gave birth. He had spoken to his mother, who lives in Mumbai, on Skype before he left for work last Tuesday morning — about an hour before the explosions.

After he went missing, Swaraj had posted his photograph on social media and appealed for help to find him.

Ganeshan was with the Infosys Ltd centre at Pune before being deployed to Brussels for a project with Belgian telecom major Proximus or Belgacom Mobile. He had been in Brussels for the last four years.

http://indianexpress.com/article/india/india-news-india/infosys-employee-missing-after-brussels-attack-is-dead-embassy/

Farewell to mortal remains of Raghavendran Ganeshan CORPORATE Infosys tribute to the atman shd be $50 mn to Ganeshan family after SheldonP returns his dole $5.8m

March 29, 2016, 7:19 pm

≫ Next: Indus Script hieroglyphs of metalwork, Brahmi, Kharoshthi writing on hundreds of ancient coins from mints of Mauryas, Maghas, Panchala, Pārata, Ujjain, Vidisha, Eran, Bhagila, Kurara, Nandner, Bactria

≪ Previous: In memoriam: Raghavendran Ganeshan of Infosys martyred in Brussels. What is corporate social responsibility of Infosys?

$

0

0

Brussels blasts victim Raghavendran Ganeshan's (inset) body being shifted to a hearse van at the Chennai airport. PTI

CHENNAI BIDS FAREWELL TO BRUSSELS VICTIM RAGHAVENDRAN

Wednesday, 30 March 2016 | Kumar Chellappan | CHENNAI

1

2

3

4

5

0

On Tuesday Chithalapakkam, a Chennai suburb, bid a silent au revoir to Raghavendran Ganesan, the 31-yearold software engineer, who lost his life in the bomb blast by the suicide bombers of ISIS at Brussels on March 22. Raghavendran died while travelling in the Metro on his way to office when one of the ISIS terrorists blew himself up. He leaves behind his wife Vaishali and a one-month old daughter. 

Earlier in the day, the mortal remains of Raghavendran was brought to Chennai by air. His parents Ganeshan and Annapoorni and younger brother Chandrasekhar accompanied the body from Brussels. Raghavendran had chatted with his mother over Skype immediately after reports about the suicide bomb attacks in Brussels airport were flashed in TV screens across the world. 

According to one of his relatives, a video footage showed Raghavendran sitting close to the suicide bomber in the Metro when the explosion occurred. Last time he made it to Chennai was in February to drop his pregnant wife home. The identity of Raghavendran was established through DNA tests. The body which was kept in the Military Hospital in Brussels was handed over to the family members on Monday.

Close family members maintained silence throughout the day even as condolence messages poured in from all walks of life including Prime Minister Narendra Modi and Tamil Nadu Chief Minister J Jayalalithaa. “A young life, full of hope and promise was cut short by mindless violence. Condolences to family of Raghavendran, who lost his life in Brussels,” tweeted Prime Minister Modi who is expected to join the memorial service at Brussels on Wednesday for the 35 people who died in the blasts to be held in the capital of Belgium on Wednesday. 

But there was an eerie  silence in the national discourse from where the names of Raghavendran and that of the ISIS terrorists were conveniently blacked out.

“Though he was not a national hero who could match the eminence of the JNU and University of Hyderabad rebels, Raghavendran was an Indian who was working abroad for his family and the country. Our intelligentsia failed miserably to recognise and respect Raghavendran’s soul. Had he raised some anti-India slogans at least a couple of times in his life time, the national media would have celebrated his death,” said one of the close relations of the family.

Ramesh Sethuraman, corporate head of a leading IT company in Chennai expressed shock over the silence of the civil society about the dastardly act. “Raghavendran should be a national hero. The silence of the civil society and the media exposes the hypocrisy of the media and the Leftists who are always in the look out for instances to gain political mileage. They wont condemn the ISIS,” said Sethuraman.  

S Kalyanaraman, former Asian Development Banker called for ‘social accountability of corporates which depute their employees to areas vulnerable to terror attacks.

“Infosys has become a global MNC. So, the company exposes its employees to world-wide Jihadi terror risks. What is the social responsibility of Infosys which doles out Bharatiya wealth to a commie Pollock?”, asked Kalyanaraman in his tweet referring to the recent controversy involving Rohan Murthy, son of Infosys founder Narayana Murthy..
http://www.dailypioneer.com/nation/chennai-bids-farewell-to-brussels-victim-raghavendran.html

MAR

29

In memoriam: Raghavendran Ganeshan of Infosys martyred in Brussels. What is corporate social responsibility of Infosys? 

Our hearts reach out to the members of Ganeshan's family as we offer our condolences and sincere prayers for their solace as Ganeshan's atman unites with the paramaatman.

Ganeshan is a martyr to the noble ideals of service cherishing the dignity provided by the ethics of liberty and freedom. Such ideals are continually being attacked by mindless jihadi terror.

Aha, Infosys has become a global MNC. So, the company exposes its employees to world-wide Jihadi terror risks. What is the social responsibility of Infosys which doles out Bharatiya wealth to a commie Pollock? 

Ganeshan has become a martyr to the cause of freedom and liberty exemplified by his presence as a worker for a global company. It is time to demand social accountability of corporates.

Such an accountability audit will call for reconsideration and withdrawal of the dole-out ($5.8m) to a commie for a RohanMurty library and to demand ethical distribution of Bharatiya wealth to employees AND to the nation, who contribute to such wealth creation. It should be noted that employees of Bharatiya MNCs expose their employees to risks in regions riddled with Jihadi terror activities.

-- Kalyanaraman

Advertisement

மாற்றம் செய்த நாள்

29மார்
2016 
16:37

பதிவு செய்த நாள்
மார் 29,2016 00:42

புதுடில்லி : பிரஸல்சில் பலியான இன்போசிஸ் ஊழியர் ராகவேந்திரன் கணேஷ் உடல் விமானம் மூலம் சென்னை வந்தது.

பெல்ஜியம் தலைநகர் பிரஸல்சில், விமான நிலையத்திலும், மெட்ரோ ரயில் நிலையங்களிலும், சமீபத்தில், ஐ.எஸ்., பயங்கரவாதிகள் தற்கொலைப்படை தாக்குதல் நடத்தினர். இதில், 35 பேர் கொல்லப்பட்டனர்.

இந்த குண்டுவெடிப்புக்கு பின், ராகவேந்திர கணேஷ், 31, என்ற கம்ப்யூட்டர் இன்ஜினியர், மாயமானதாக தகவல் வெளியானது.சென்னையைப் பூர்வீகமாகக் கொண்ட ராகவேந்திராவின் குடும்பத்தினர், மும்பையில் வசித்து வருகின்றனர். ராகவேந்திரா, 'இன்போசிஸ்'நிறுவனத்தின் சார்பில், பெல்ஜியத்தில் பணியாற்றுவதற்காக சென்றார்.மாயமான அவரை தேடும் பணி நடப்பதாக, வெளியுறவு அமைச்சக அதிகாரிகள் தெரிவித்திருந்தனர். 

இந்நிலையில், குண்டு வெடிப்பில் ராகவேந்திர கணேஷ் உயிரிழந்ததை, பெல்ஜியம் அதிகாரிகள் நேற்று உறுதி செய்தனர். தற்கொலைப் படை தாக்குதல் நடந்த, மெட்ரோ ரயிலில், அவர் இறந்து கிடந்தது, தற்போது உறுதிப்படுத்தப்பட்டுள்ளது.

ராகவேந்திரன் கணேஷ் உடல் இன்று விமானம் மூலம் சென்னை விமானநிலையம் வந்தது. சென்னை சிட்டலபாக்கத்தில் உள்ள அவரது வீட்டிற்கு உடல் கொண்டு செல்லப்படுகிறது.


ஏற்கனவே பிரஸல்ஸ் சென்றுள்ள, ராகவேந்திராவின் பெற்றோர் மற்றும் சகோதரரிடம், அவருடைய உடல் நேற்று ஒப்படைக்கப்பட்டது. உடலை, இந்தியாவுக்கு கொண்டு வருவதற்கான உதவிகள் செய்யப்பட்டுள்ளதாக இந்திய துாதரக அதிகாரிகள் தெரிவித்தனர்.http://www.dinamalar.com/news_detail.asp?id=1489215

Print

Missing Infosys employee confirmed dead after Brussels attack

By: Express News Service | New Delhi / Bengaluru | Updated: March 29, 2016 11:49 am

Infosys employee Raghavendran Ganesh.

Belgian authorities have identified Raghavendran Ganeshan, an Infosys employee who had been missing ever since the terror attacks in Brussels on March 22, as one of the blast victims, External Affairs Minister Sushma Swaraj said Monday.

“He was travelling in the same coach of the metro in which the suicide bomber blew himself up,” Swaraj wrote on Twitter. “His mortal remains are being handed over to the family in Brussels.”

Read: PM Modi condoles  Raghavendran Ganeshan’s death

Sources said Ganeshan’s body could not be identified earlier and that Belgian hospital authorities had to take the family’s help for identification. Ganeshan’s parents and brother had travelled to Brussels after the attack.

RIP Raghvendran!The Belgian authorities hv identified Raghvendran as 1 of d victims f barbarian terror attacks of March 22.@SushmaSwaraj 1/2

— India in Belgium (@IndEmbassyBru) March 28, 2016

Mortal remains r in process of being handed2family f Raghvendran to be taken 2 India from Amsterdam airport.@gauravcsawant@aditi_tyagi

— India in Belgium (@IndEmbassyBru) March 28, 2016

At least 35 people were killed and over 300 wounded after two bombs exploded at Brussels airport and one at Maelbeek metro station.

Ganeshan visited India last month when his wife gave birth. He had spoken to his mother, who lives in Mumbai, on Skype before he left for work last Tuesday morning — about an hour before the explosions.

After he went missing, Swaraj had posted his photograph on social media and appealed for help to find him.

Ganeshan was with the Infosys Ltd centre at Pune before being deployed to Brussels for a project with Belgian telecom major Proximus or Belgacom Mobile. He had been in Brussels for the last four years.

http://indianexpress.com/article/india/india-news-india/infosys-employee-missing-after-brussels-attack-is-dead-embassy/

http://bharatkalyan97.blogspot.in/2016/03/in-memoriam-raghavendran-ganeshan-of.html

Indus Script hieroglyphs of metalwork, Brahmi, Kharoshthi writing on hundreds of ancient coins from mints of Mauryas, Maghas, Panchala, Pārata, Ujjain, Vidisha, Eran, Bhagila, Kurara, Nandner, Bactria

March 30, 2016, 5:12 am

≫ Next: The peculiary of the Pollock challenge -- Ashay Naik

≪ Previous: Farewell to mortal remains of Raghavendran Ganeshan CORPORATE Infosys tribute to the atman shd be $50 mn to Ganeshan family after SheldonP returns his dole $5.8m

$

0

0

Mirror: http://tinyurl.com/j5fse5n

IndusScriptcipher

This is an addendum to: 

http://bharatkalyan97.blogspot.in/2016/03/contribution-of-indus-script-tradition.html Contribution of Indus Script tradition 1. to 'cash' economy of the ancient world (World Monetary history) & 2. as a writing system to signify metalwork.

This note is dedicated to Pankaj Tandon who has provided, phenomenal data mining insights of unparalleled excellence, into the writing systems of Bharatam Janam by presenting a compilation of exquisite, unambiguous Ancient Bharatam Coin Galleries. The only additional contribution made by this note is to provide voice to the images/writings, by deciphering the hieroglyphs and reading them rebus in Old Prakrtam lexis of metalwork, consistent with Indus Script cipher.

While Brahmi or Kharoshthi syllabic symbols were used to write personal names, the Indus Script cipher tradition continued with the signifiers of hieroglyphs for metalwork technical specifications, particularly in smelting-, metal-casting, and mint-work using minerals, metals and alloys.

Four consonants ḍha- dha-, ka-, ma- signified by orthography of Brahmi syllables are traceable to the tradition of Indus Script Corpora which is a catalogus catalogorum of metalwork.

For evolution of Brahmi writing for syllables ka-, ḍha-, dha-see: http://bharatkalyan97.blogspot.in/2015/12/evolution-of-brahmi-script-syllable-ma.html 

Evolution of Brahmi script syllable ma- possibly from meḍ 'iron, copper, metal' in the context of smelting, metalwork tradition of Ancient Near East. Proving svastika signifies zinc metal

For evolution of Brahmi syllabic orthography for ka-, ḍha-, dha- 


Coin gallery: Mauryan empire
[quote]

The Mauryan empire grew out of the Magadha janapada and kingdom. The empire was founded around 322 BCE by Chandragupta Maurya, a man of humble origins who usurped the Magadhan throne of the Nandas. The Magadhan kingdom was already large and Chandragupta expnded it further. The Seleucid emperor, Seleucos I, ceded to him all the Greek lands south of the Hindu Kush mountains. Thus his empire stretched through modern Pakistan into Afghanistan. Chandragupta is said to have given up the throne in order to become an ascetic. His son, Bindusara, continued the expansion of the empire, as did his grandson, Ashoka. However, after witnessing the aftermath of a particularly bloody battle during the Mauryan conquest of Kalinga in modern-day Orissa, Ashoka was overwhelmed with remorse and decided to abandon war altogether. He converted to Buddhism and started to follow a policy of non-violence, spreading the pacifist philosophy of the Buddha throughout his empire and also to other countries through emissaries sent out for that purpose. The Mauryan empire survived for some 50 years after the death of Ashoka, but was eventually overthrown when a general in the army, Pushyamitra Sunga, usurped the throne. The approximate chronology of the Mauryan kings is as follows:             Chandragupta (322-298 BCE)             Bindusara (298-272 BCE)             Ashoka (272-232 BCE)             Dasaratha (232-224 BCE)             Samprati (224-215 BCE)             Salisuka (215-202 BCE)             Devavarman (202-195 BCE)             Satadhanvan (195-187 BCE)             Brihadratha (187-185 BCE) The Mauryan coinage consisted almost exclusively of silver karshapanas of roughly 3.4 gm, a series that continued the Magadha karshapana series. Almost all Mauryan coins have five punches, as did the Magadhan coins before them ... a sun, a "6-arm symbol" and three others. Some of the last coins in the series also had a punch on the reverse of the coin. Over time, the flans became smaller and thicker. The economy must have been very prosperous, as the coins seem to have been minted in the millions. Large hoards of Mauryan coins are found to this day and, as a result, the coins are quite inexpensive, especially considering their age. Unfortunately, we do not know what the punches signify, nor do we know exactly which coins were issued by which kings. Indeed, we are not even sure where the Magadhan series ends and the Mauryan series begins.

 [unquote]http://coinindia.com/galleries-maurya.html

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.19 gm., Dim: 16 x 17 mm.
Ref:  GH 477.
From r. to l.: karabha 'trunk of an elephant' (Pali) ibha 'elephant' (Samskrtam) rebus: karba 'iron' ib 'iron' (Santali)
poLa 'zebu' rebus: poLa 'magnetite ferrite ore'
meTTU 'mound' rebus: meD 'iron' (Ho.Mu.)
dhAu 'strand' rebus: dhAI 'mineral ore, element' PLUS khaNDa 'arrow' rebus: khaNDa 'implements' PLUS khambhaṛā 'fish-fin' (Lahnda CDIAL 13640) kammaTa, 'mint' (Kannada) kampaṭṭam coinage, coin, mint' (Tamil) PLUS aya 'fish' rebus: aya 'iron' ayas 'metal' (Rigveda)
arka 'sun' (Rigveda) arka 'copper' (Samskrtam) eraka 'moltencast, copper'

It is suggested that detailed orthography of the so-called 'nandipada' or 'taurine' or 'srivatsa' or 'twist' symbol is provided on Sanchi/Bharhut torana gateways:
Sanchi stupa 1, Northern toraṇa, east pillar, c. 1st cent. BCE (AIIS, VNS, 321.29). A pair of fish tails ligatured to form nandipāda. The orthography uses fish=fins which fuse into a skambha atop a lotus. The reading is kammaTa 'coiner, mint'.

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.43 gm., Dim: 15 x 14 mm.
Ref:  GH 506.
From r. to l. खांडा [khāṇḍā] A division Rebus: 'imlements' 
मेढा [mēḍhā] A twist rebus: mẽṛhẽt, meD 'iron'(Santali)
 मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
 kamaḍha 'archer, bow'  Rebus: kammaTa 'coiner, coinage, mint'
dhAu 'strand' rebus: dhAI 'mineral ore, element' PLUS khaNDa 'arrow' rebus: 'implements'
arka 'sun' (Rigveda) arka 'copper' (Samskrtam) eraka 'moltencast, copper'

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.14 gm., Dim: 13 x 13 mm.
Ref:  GH 509.
Hieroglyph 2 and 3 from r.: मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) kuTi 'tree' rebus: kuThi 'smelter' PLUS mEDa 'platform' rebus: meD 'iron' 

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.01 gm., Dim: 15 x 14 mm.
Ref:  GH 510.
 Hieroglyph 2 and 3 from r.: meTTu 'mound' rebus: meD 'iron' PLUS baTa 'quail' rebus: bhaTa 'furnace' मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.15 gm., Dim: 12 x 12 mm.
Ref:  GH 512.
 Hieroglyph 3 from r.: मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.38 gm., Dim: 13 x 15 mm.
Ref:  GH 516.
Hieroglyph 1 and 4 from r.: मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) poLa 'zebu' rebus: poLa 'magnetite ferrite ore'

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.35 gm., Dim: 13 x 14 mm.
Ref:  GH 519.
Hieroglyphs 1 and 3 from r.: khambhaṛā 'fish-fin' (Lahnda CDIAL 13640) kammaTa, 'mint' (Kannada) kampaṭṭam coinage, coin, mint' (Tamil) PLUS aya 'fish' rebus: aya 'iron' ayas 'metal' (Rigveda) PLUS goT 'round object' Rebus: khoT 'ingot, alloy' goTa 'laterite ferrite ore'

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.06 gm., Dim: 16 x 15 mm.
Ref:  GH 524.

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.38 gm., Dim: 16 x 9 mm.
Ref:  GH 530.
 Hieroglyph 3 from r.: meTTu 'mound' rebus: meD 'iron' PLUS kuThari 'crucible' Rebus: kuThari 'storekeeper, treasury'

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.43 gm., Dim: 11 x 15 mm.
Ref:  GH 534.

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.22 gm., Dim: 13 x 17 mm.
Ref:  GH 543.

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.36 gm., Dim: 13 x 12 mm.
Ref:  GH 549.
Hieroglyph 3 from r.: मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.08 gm., Dim: 14 x 17 mm.
Ref:  GH 550.
 Hieroglyph 1 and 3 from r.: मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.29 gm., Dim: 13 x 13 mm.
Ref:  GH 552.

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.37 gm., Dim: 11 x 16 mm.
Ref:  GH 555.

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.46 gm., Dim: 13 x 16 mm.
Ref:  GH 561.

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.42 gm., Dim: 16 x 15 mm.
Ref:  GH 566.

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.28 gm., Dim: 15 x 14 mm.
Ref:  GH 568.
Hieroglyph1: mora 'peacock' rebus: morakkaka 'a kind of steel'

Silver karshapana
c. 4th-2nd century BCE
Weight: 2.90 gm., Dim: 14 x 13 mm.
Ref:  GH 570.

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.25 gm., Dim: 12 x 16 mm.
Ref:  GH 573.
Hieroglyph2: karabha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.38 gm., Dim: 16 x 15 mm.
Ref:  GH 574.

Silver karshapana
c. 4th-2nd century BCE
Weight: 2.99 gm., Dim: 15 x 14 mm.
Ref:  GH 575.

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.27 gm., Dim: 11 x 14 mm.
Ref:  GH 582.
Hieroglyph2 from r.: sangaDa 'lathe, brazier' rebus: sangAtha 'vajra, adamantine glue (metallic);

Silver karshapana
c. 4th-2nd century BCE
Weight: 2.96 gm., Dim: 10 x 15 mm.
Ref:  GH 591.
Hieroglyph 5 from r.: kolom 'three' rebus: kolami 'smithy, forge'

Silver karshapana
c. 4th-2nd century BCE
Weight: 3.24 gm., Dim: 12 x 15 mm.
Ref:  GH 595.


Die-struck Vidisha-Eran coins (ca. 2nd 1st cent. BCE)

" The commonest devices on Eran coins are elephant, horse, so-called Ujjain symbol, river, railed standard, railed tree and (lotus-)flower with eight petals. Sometimes we see also a bull,  a six-armed symbol, a taurine fixed in an open railing, a damaru in a damaru-shaped enclosure or a standard in a damaru-shaped enclosure. Depictions of a lion or a human being are rarely found. The taurine fixed in an open railing is a very characteristic symbol of the Eran-Vidisha region but sometimes it is also found on types from Vidarbha. A symbol which appears to be specific for the Eran series occurs in two modifications: as a closed semicircle with two fish inside and as a semicircle with two crosses inside "

Vidarbha, anonymous uniface die-struck AE
Weight:  1.50gm., Dimensions: 14x12 mm.
Railed tree in centre; taurine fixed in open railing on the left with a nandipada on top left; on the
     right is an Indradhvaja and at the bottom a river.
Blank reverse
Reference: Mitchiner (MATEC) 4775-4780 kaNTam 'water' rebus: khaNDa 'implements' aya 'fish' rebus: ayas 'metal' aya 'iron'

Vidarbha, anonymous uniface AE,  single punch 'symbol type'
Weight:  0.69 gm., Dimensions: 10x8 mm.
'Ujjain symbol' with a crescent on one of its orbs
Blank reverse
Reference: Mitchiner (MATEC) 4770 / Pieper 574 (plate coin) gaNDa 'four' rebus: kanda 'fire-altar' goTi 'round' rebus: goTa 'laterite ferrous ore'

Vidarbha, anonymous uniface AE,  single punch 'symbol type'
Weight:  0.68 gm., Dimensions: 9x7 mm.
Taurine fixed in an open railing, unidentified symbol on right
Blank reverse
Reference:  Pieper 573

Eran, anonymous 1/2 AE karshapana,  four punch 'symbol type'
Weight:  5.28 gm., Dimensions: 20x19 mm.
Elaborate 'Ujjain symbol' on top, below it a cakra on left and a railed tree on right;
     river at the bottom on left.
Blank reverse tAmarasa 'lotus' rebus: tAmra 'copper'
Reference:  Pieper 485 (plate coin) eraka 'nave of wheel' rebus: eraka 'moltencast, copper'

Eran, anonymous 1/2 AE karshapana,  four punch 'symbol type'
Weight:  4.39 gm., Dimensions: 19x18 mm.
Railed tree on top left, flower on top right; at the bottom 'Ujjain symbol' on the right
      and closed semicircle with two fish inside and two svastikas above on the left.
Blank reverse
Reference: BMC, pl. XVIII, no.12/ Pieper 484 (plate coin)

Eran, anonymous 1/2 AE karshapana,  five punch 'symbol type'
Weight:  5.35 gm., Dimensions: 20x19 mm.
'Ujjain symbol', Indradhvaja, railed tree, river.
Blank reverse
Reference:  Pieper 482 (plate coin)

Eran, anonymous 1/2 AE karshapana,  four punch 'symbol type'
Weight:  5.70 gm., Dimensions: 20x20 mm.
The same type as previous coin but a damaru-in-damaru-shaped-enclosure on
the reverse.
Reference:  Pieper 483 (plate coin)

Eran, anonymous 3/4 AE karshapana,  two punch 'symbol type'
Weight:  6.41 gm., Dimensions: 21x20 mm.
Obv.: Lotus flower and cakra. tAmarasa 'lotus' rebus: tAmra 'copper' eraka 'nave of wheel' rebus: eraka 'moltencast, copper' arA 'spokes' rebus: Ara 'brass'
Rev.: Worn traces of Eran coin undertype(elephant, river, railed Indradhvaja, lotus
flower, railed tree and six-armed symbol)
Reference:  Pieper 478(plate coin)


Eran, anonymous AE karshapana,  five punch 'bull & elephant & lion type'
Weight:  7.47 gm., Dimensions: 20x20 mm.
River in centre;  on top bull on the left and elepahnt on the right;
      at the bottom lion on left and elaborate 'Ujjain symbol' on the right.
Blank reverse
Reference: Pieper 476 (plate coin)


Eran, anonymous 3/8 AE karshapana,  five punch 'bull type'
Weight:  3.52 gm., Dimensions: 17x17 mm.
Bull on the left, 'Ujjain symbol' in centre and Indradhvaja on the right;
     railed tree on top and river at the bottom.
Blank reverse
Reference:  Pieper 474 (plate coin)

Eran, anonymous AE karshapana,  five punch 'horse & elephant type'
Weight:  8.13 gm., Dimensions: 22x20mm.
Horse on the left, elephant on the right and six-armed symbol in centre;
      'Ujjain symbol' on top and river at the bottom.
Blank reverse
Reference:  Pieper 473 (plate coin)

Eran, anonymous 1/2 AE karshapana,  four punch 'horse & elephant type'
Weight:  5.10 gm., Dimensions: 20x17 mm.
Horse on the left and elephant on the right; 'Ujjain symbol on top;
      river at the bottom.
Blank reverse
Reference: BMC, pl. XVIII, no.17-18 / Pieper 470 (plate coin)

Eran, anonymous AE karshapana,  five punch 'horse type'
Weight:  10.25 gm., Dimensions: 23x22 mm.
Horse on the left, railed tree in centre,elaborate Ujjain symbol on the right, railed
     Indradhvaja on top, river at the bottom.
Blank reverse
Reference: BMC, pl. XVIII, no.14/ Pieper 467 (plate coin)

Eran, anonymous AE karshapana,  four punch 'horse type'
Weight:  10.83 gm., Dimensions: 25x23 mm.
Obv.: Horse on the right and tree-on-hill with a taurine in each of its three archs on the left;
     'Ujjain symbol' with taurine topped lines between; river at the bottom
Reference: S. Tiwari collection, p.144, type24, var.c / Pankaj Tandon collection

Eran, anonymous AE karshapana,  four punch 'horse type'
Weight:  8.03 gm., Dimensions: 20x17 mm.
Horse on the left, Indradhvaja in damaru-shaped enclosure on the right;
     'Ujjain symbol' on top; river at the bottom.
Blank reverse
Reference: Pieper 466 (plate coin)

Eran, anonymous 3/4 AE karshapana,  five punch 'horse type'
Weight:  6.94 gm., Dimensions: 25x23 mm.
Obv.: Horse on the left and  six-armed symbol on the right.
Rev.: 'Ujjain symbol' and Indradhvaja on top; river at the bottom.
Reference: Pieper 468 (plate coin)

Eran, anonymous AE karshapana,  five punch 'elephant type'
Weight:  7.84 gm., Dimensions: 21x21 mm.
Elephant on the right, railed Indradhvaja in centre, taurine in open enclosure on left;
     six-armed symbol, on top; river at the bottom.
Blank reverse
Reference: BMC, pl.XVIII, no.9 / Pieper 465 (plate coin)

Eran, anonymous 3/4 AE karshapana,  five punch 'elephant type'
Weight:  6.24 gm., Dimensions: 20x20 mm.
Elephant on the right, railed Indradhvaja in centre, 'Ujjain symbol' with nandipada on
     one of its orbs on the left; river at the bottom.
Blank reverse
Reference:  Pieper 464 (plate coin)

Eran, anonymous 1/2 AE karshapana,  five punch 'elephant type'
Weight:  5.52 gm., Dimensions: 20x18 mm.
Elephant on the left, railed tree in centre, (lotus)flower on the right;
      railed Indradhvaja on top; river at the bottom.
Blank reverse
Reference: Pieper 463 (plate coin)

Eran, anonymous 1/4 AE karshapana,  five punch 'elephant type'
Weight:  2.80 gm., Dimensions: 19x16 mm.
Elephant on the left, railed tree in centre,'Ujjain symbol' with nandipada on one of its
     orbs on right; railed Indradhvaja on top; river at the bottom.
Blank reverse
Reference: Pieper 460 (plate coin)

Eran, anonymous 1/2 AE karshapana,  large 'human type' countermark
Weight:  4.73 gm., Dimensions: 21x20 mm.
A large c/m depicting a standing human holding stick and kamandalu is placed on the blank
reverse of a worn Eran coin which shows an 'Ujjain symbol' and a lotus-flower.
Reference: Pieper 420 (plate coin)
\
Eran, anonymous 1/2 AE karshapana,  five punch 'human type'
Weight:  3.99 gm., Dimensions: 18x16 mm.
Bull on the left, railed tree in centre, standing human on right; river at the bottom;
      'Ujjain symbol' at the top.
Blank reverse
Reference: Pieper 459 (plate coin)

Eran, anonymous 1/2 AE karshapana, six punch 'human type'
Weight:  4.85 gm., Dimensions: 20x19 mm.
River in centre; on top railed tree on left and standing human on right; on the
     bottom from left to right 'Ujjain symbol', bull and sun.
Blank reverse
Reference:  Pieper 458 (plate coin)
http://coinindia.com/galleries-eran1.html

Pre-Satavahana coins with added Brahmi names (syllabic writing complements Indus Script Cipher)                Eran-Vidisha AE 1/2 karshapana, Narayanamitra, five punch type

Weight:  5.02 gm., Dimensions: 20x17 mm.

Railed Indradhvaja in centre; elephant on right; taurine fixed in open railing on left

     river at the bottom and legend punch on top reading rajno narayanamitasa

Blank reverse

Reference: S. Tiwari collection, p.182, type 1 / Pieper 488 (plate coin)

                

Eran-Vidisha AE 1/2 karshapana, Bhumidata, six punch type

Weight:  5.10 gm., Dimensions: 21x21 mm.

Railed tree in centre; elephant on left and railed Indradhvaja on right;

     river at the bottom; on top right taurine in fixed railing and on top left legend

     punch reading rajno bhumidatasa

Blank reverse

Reference: S. Tiwari collection, p. 196, var.3 / Pieper 489 (plate coin)

                Eran-Vidisha AE 1/2 karshapana, Hastideva, four punch type

Weight: 4.89 gm., Dimensions: 18x14 mm.

Railed tree on left and taurine fixed in open railing on right; river at the bottom;

      upside down legend punch at the top reading hathidevasa

Blank reverse

Reference: K.B. Tiwari 1981: 41 / Pieper 490 (plate coin)

                Eran-Vidisha AE 3/8 karshapana, Ravibhuti, four punch type, reportedly from Nandner, Overstruck

Weight: 3.54 gm., Dimensions: not stated by the auctioneers

Lotus flower, river symbol, tree, legend rajno ravibhutisa /

Large countermark depicting standing human figure beside Indradhvaja

Reference:  S. Tiwari collection, p. 192 (that coin without reverse punch)

               

                Eran-Vidisha region, AE 1/4 karshapana, Bhanumitra, 4 punch type

Weight: 2.19 gm., Diameter: 18 mm.

Legend punch at right reading rajno bhanumitasa; river symbol below,

     above the river an 'Ujjain symbol' on left and railed tree on right /

Large countermark depicting standing human figure beside Indradhvaja

Reference:  S. Tiwari collection, p. 180 var 1

               

                Eran-Vidisha AE 3/4 karshapana, Vajimitra, five punch type, reportedly from Nandner

Weight: 6.61 gm., Dimensions: not stated by the auctioneers

River at the bottom; elephant on the right; Brahmi legend vasumitasa on the left;

      elaborate 'Ujjain symbol' on top left and railed tree on top right.

      (turn the coin photo 90° to the right to have the river at the bottom, which is the

       usual placement for all coins of the series)

Blank reverse

Reference: S. Tiwari collection, p. 178

            

                Eran-Vidisha AE 3/4 karshapana, Vajimitra, five punch type

Weight: 6.42 gm., Dimensions: 21x20 mm.

River at the bottom; elephant on the right; Brahmi legend vajimitasa on the left;

      'Ujjain symbol' at the top; tree symbol (not visible on this specimen)

Blank reverse

Reference: S. Tiwari collection, p. 180  / Pankaj Tandon collection

              

                Eran-Vidisha AE 1/2 karshapana, Damabhadra, four punch type

Weight:  3.85 gm., Dimensions: 17x16 mm.

Double orbed 'Ujjain symbol' on left and railed tree on right; river at the bottom;

     legend punch on top reading damabhadasa

Damaru symbol flanked by two svastikas

Reference: Pieper 491 (plate coin)

                

Satavahana Kings

                

Eran-Vidisha, AE 3/8 karshapana,  Satakarni, five punch type

Weight:  3.64 gm., Dimensions: 20x17 mm.

From left to right elephant, 'Ujjain symbol' with crescent and railed Indradhvaja;

     river at the bottom; legend punch on top reading siri satakanisa

Blank reverse

Reference:  S. Tiwari collection, p.199/ Pieper 493 (plate coin)

                Eran-Vidisha, AE 3/8 karshapana, Satakarni, five punch type

Weight:  3.51 gm., Dimensions: 20x20 mm.

From left to right elephant, 'Ujjain symbol' with crescent and railed Indradhvaja;

     river at the bottom; legend punch on top, weak letters, but probably reading

     siri satakanisa.

Blank reverse

Reference: S. Tiwari collection, p.199/ Pankaj Tandon collection

Bhagila

                Bhagila, AE 3/8 karshapana,  four punch 'bull type''

Weight:  3.11 gm., Dimensions: 19x19 mm.

Bull on the left, railed tree on right; river at the bottom; legend punch at the top

    reading bhagilaya which is followed by a lotus flower.

Blank reverse

Reference:  S. Tiwari collection, p.161, type 1,var.2 / Pieper 495 (plate coin)

                Bhagila, AE 3/4 karshapana,  four punch 'bull type'

Weight:  6.88 gm., Dimensions: 22x21 mm.

Bull on the left, railed tree on right; river at the bottom; legend punch at the top

    reading bhagilaya which is followed by a lotus flower.

Blank reverse

Reference:  S. Tiwari collection, p.161, type 1,var.2 / Pankaj Tandon collection

                Bhagila, 1/2 AE karshapana,  four punch 'cobra type'

Weight:  4.67 gm., Dimensions: 20x19 mm.

Cobra snake on the left and railed tree on the right; river at the bottom; on the top  

     is a legend punch reading upside-down bhagilaya followed by a lotus flower.

Blank reverse

Reference: S. Tiwari collection, p.163, type II, var.2 / Pieper 496 (plate coin)

                Bhagila, AE 1/2 karshapana,  four punch 'cobra type'

Weight:  5.03 gm., Dimensions: 21x21 mm.

Cobra snake on the left and railed tree on the right; river at the bottom; on the top  

     is a legend punch reading upside-down bhagilaya followed by a lotus flower.

Blank reverse

Reference: S. Tiwari collection, p.163, type II, var.2 / Pankaj Tandon collection

Kurara

                Kurara, die-struck AE

Weight:  1.01 gm., Dimensions: 11x9 mm.

Indradhvaja on left, taurine in open semicircle on right; Brahmi legend

       kuraraya on top

Blank reverse

Reference: S. Tiwari collection, p.174, type VI / Pieper 498 (plate coin)

                Kurara, die-struck AE

Weight:  1.51 gm., Dimensions: 12x11 mm.

Obv.: Railed tree on left; Indradhvaja on right; Brahmi legend kuraraya on top.

Rev.: Taurine fixed in open semi-circle

Reference: S. Tiwari collection, p.174, type V / Pieper 499 (plate coin)

                Kurara, die-struck AE

Weight:  1.90 gm., Dimensions: 13x13 mm.

'Ujjain symbol' with nandipdada on one of its orbs on left;, railed tree on right;

     Brahmi legend on top reading kuraraya

Blank reverse

Reference:  S. Tiwari collection, p.172, class II / Pieper 500 (plate coin)

                Kurara, die-struck AE

Weight:  0.98 gm., Dimensions: 11x10 mm.

Railed tree on left and Indradhvaja on right; Brahmi legend on top reading kuraraya

Srivatsa-on-railing on reverse.

Reference: / Pieper 501 (plate coin)

Vidisha

                 Vidisha, die-struck AE, wheel type

Weight:  1.18 gm., Dimensions: 13 mm.

Obv.: Eight-spoked wheel

Rev.: Brahmi legend reading vedisa

Reference: Pieper collection

                This civic type first came to light in 1961 and has since been reported in small numbers from time to time. In 'Numismatic Gleanings', 2012, by Devendra Handa and Major M.K.Gupta, pl.VI, coins 1-3 and p.48, Handa links the wheel symbol on this coin to the prevalence of the Bhagavata cult at Vidisha. This cult found expression in several ways, among them in the erection of a Garuda-dhvaja in front of a temple of Vasudeva at the ancient site of Vidisha: "...It is therefore not unlikely that this wheel may have represented the emblem of Vasudeva Vishnu." The occurrence of this chakra-like wheel symbol on other coin types of Vidisha as well adds to the reliability of Handa's suggestion.

                Vidisha, die-struck AE, horse # chakra type

Weight: ?, Dimensions: ? (weight and diameter not stated by the auctioneers)

Obv.: Horse to the left, part of legend vedisa below

Rev.:  Chakra

Reference: The photo of this coin is taken from Bhargava auction 8, coin 31

                Vidisha, die-struck AE, 'horse/ chakra' type

Weight: 5.71 gm., Diameter:  mm

Obv.: Bridled horse standing to left.

Rev.: Chakra symbol with a decorative outer border of alternating

         svastikas and srivatsa symbols.

Reference: Girish Sharma collection

                Although this coin is uninscribed the typology clearly allows a Vidisha attribution, the more as the owner, Mr.Girish Sharma, confirms a Vidisha provenance. The Vidisha attribution is certain when comparing this coin with the 'horse/ chakra' type listed above which has absolutely the same unusually bridled horse on its obverse and a chakra on its reverse but which is inscribed in the city name.

                Vidisha, die-struck AE, hill type

Weight: ?., Dimensions: ? (weight and dimensions not stated by the auctioneers)

Three-arched hill with crescent on top; Brahmi legend below reading vedisa(sa)

Blank reverse

Reference:  The photo of this coin is taken from Bhargava auction 8, coin 32

                Vidisha, die-struck AE, uniface 'legend, tree and hill' type

Weight: 9.36 gm, Dimensions: ? (dimensions not stated by the auctioneers)

Obv: Centrally placed Brahmi legend (ve)disasa; railed tree at top; three-arched hill at the bottom.

Rev: Blank

Reference:  Dilip Rajgor & Shankar Tiwari, ONS-NL 125 (1990), p.6, type 1

Photo from Classical Numismatic Gallery, auction 18, lot 7

                Vidisha, die-struck AE, uniface 'horse to right' type

Weight: 5.59 gm, Dimensions: ? (dimensions not stated by the auctioneers)

Obv: Horse walking to right; possibly parts of legend at bottom, overlapping circular symbols at right

Rev: Blank

Reference:  Unpublished

Photo from Classical Numismatic Gallery, auction 18, lot 8

                Possibly Vidisha, die-struck AE, deeply incused chakra type

Weight: 5.59 gm, Dimensions: ? (dimensions not stated by the auctioneers)

Obv: Chakra in deep round incuse

Rev: Blank

Reference:  Unpublished

Photo from Bhargava auction 11, lot 51, described as northern Indian type without certain attribution.

                

Nandinagar (Nandner)

                Nandinagar, die-struck AE, 'hill & legend' type

Weight: 8.22 gm, Dimensions: ? (dimensions not stated by the auctioneers)

Obv: Three-arched hill with Brahmi legend 'nadinagara' above

Rev: Blank

Reference:  Shankar Tiwari, Prachya Pratibha, vol.XII,1-2 (1984), p.77

Photo from Classical Numismatic Gallery, auction 18, lot 6

                Nandinagar is the ancient site of Nadner in Hoshangabad district, MP. This is apparently the only Nandinagar city type known so far.

                 

Malwa, 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.

Source for the provenience, images and readings: 
http://coinindia.com/galleries-eran2.html

Maghas

                Nava, AE unit, c. 200 CE

Weight: 3.04 gm., Diam: 17 mm.

Obverse: Humped bull right /

Reverse: Bow and arrow, railed tree and indistinct symbol,

     Brahmi legend below: navasa

Ref:  Pieper 999

                Nava may not have been a Magha king, but a post-Kushan ruler in Kausambi.

                Nava, AE unit, c. 200 CE

Weight: 2.43 gm., Diam: 14 mm.

Obverse: Humped bull right /

Reverse: Bow and arrow, railed tree and indistinct symbol,

     Brahmi legend below: navasa

Ref:  Pieper 999

                Nava, AE unit, c. 200 CE

Weight: 4.48 gm., Diam: 17 mm.

Obverse: Humped bull right, trident above /

Reverse: Spear or trident with axe on shaft at left, Railed tree and indistinct symbol,

     Brahmi legend below: navasa, ladder symbol below that

Ref:  Pieper 1000 (plate coin, photo, courtesy Wilfried Pieper)

                Bhadramagha, clay sealing, c. 208-214 CE

Weight: 15.78 gm., Diam: 38 mm.

Brahmi legend: maharajasya kotsiputrasya sri bhadramaghasya

Above: Bull left, with goddess standing at left and indistinct symbol at right,

Below: Bow and arrow and six-arched hill or chaitya

Ref: Unpublished

                The coins of Bhadramagha are quite rare, and they are crude like other Magha coins. The fine carving on this seal shows that the Magha die cutters were capable of high quality work.

                Vijayamagha, AE unit, c. 215-220 CE ?

Weight: 2.60 gm., Diam: 16 mm.

Obverse: Humped bull right /

Reverse: Railed tree and three-arched hill, Brahmi legend below: vija(yamagha)

Ref:  Pieper 1004 (plate coin, photo, courtesy Wilfried Pieper)

                We do not have a date or other clue to the chronology for Vjayamagha. However, his coin appears to be similar in style to the coins of Nava or Sivamagha I; thus this seems like a logical chronological point to place him. As a piece of additional evidence, we have a published clay sealing of Vijayamagha which is very similar to the Bhadramagha sealing above; thus these two rulers were quite likely close to one another in time.

                Sivamagha I, AE unit, c. 220-225 CE

Weight: 3.43 gm., Diam: 16 mm.

Obverse: Humped bull right /

Reverse: Railed tree and three-arched hill, Brahmi legend below: (s)ivamagha

Ref:  Pieper 1001

                Sivamagha I, AE unit, c. 220-225 CE

Weight: 3.05 gm., Diam: 15 mm.

Obverse: Humped bull right /

Reverse: Railed tree and three-arched hill, Brahmi legend below: siva(magha),

     ladder-like symbol below that

Ref:  Pieper 1001

                Sivamagha I, AE unit, c. 220-225 CE

Weight: 3.16 gm., Diam: 15 mm.

Obverse: Humped bull right /

Reverse: Railed tree and three-arched hill, Brahmi legend below: (si)vamagha,

     ladder-like symbol below that

Ref:  Pieper 1001 (plate coin, photo, courtesy Wilfried Pieper)

                Vaisravana, AE unit, c. 230-235 CE

Weight: 3.03 gm., Diam: 15 mm.

Obverse: Indistinct /

Reverse: Railed tree and three-arched hill, Brahmi legend below: (vaii)srava(na)

Ref:  Pieper 1002-1003

                Vaisravana, AE unit, c. 230-235 CE

Weight: 2.49 gm., Diam: 16 mm.

Obverse: Indistinct /

Reverse: Railed tree and three-arched hill, Brahmi legend below: vaiisrava(na),

     ladder-like symbol below that

Ref:  Pieper 1002-1003

                Vaisravana, AE unit, c. 230-235 CE

Weight: 2.28 gm., Diam: 16-13 mm.

Obverse: Indistinct /

Reverse: Railed tree and three-arched hill, Brahmi legend below: vaiisrava(na)

Ref:  Pieper 1002 (plate coin, photo, courtesy Wilfried Pieper)

                Vaisravana, AE unit, c. 230-235 CE

Weight: 2.14 gm., Diam: 15 mm.

Obverse: Indistinct /

Reverse: Railed tree and three-arched hill, Brahmi legend below: (vaii)srava(na)

Ref:  Pieper 1003 (plate coin, photo, courtesy Wilfried Pieper)

                Bhimavarman, AE unit, c. 257-265 CE

Weight: 2.20 gm., Diam: 13 mm.

Obverse: Indistinct or blank/

Reverse: Three-arched hill and railed tree, Brahmi legend below: (bhi)mavama

Ref:  Pieper ---

                Bhimavarman, AE unit, c. 257-265 CE

Weight: 2.51 gm., Diam: 13-10 mm.

Obverse: Indistinct or blank/

Reverse: Brahmi legend: bhima(vama)

Ref:  Pieper ---

                Bhimavarman, AE unit, c. 257-265 CE

Weight: n.a., Diam: n.a.

Obverse: Bull left, indistinct symbol above /

Reverse: Symbols (railed tree, hill ?), Brahmi legend below: bhimavamaladder-like symbol below that Ref:  Pieper ---

Photo courtesy Shailen Bhandare

Source for the provenience, images and readings:  http://coinindia.com/galleries-maghas.html 

Panchala

"K.M. Shrimali, in his History of Panchala, dates the main series to about 150 BCE to 125 CE, followed by a gap during the ascendancy of the Kushan Empire, which in turn was followed by the re-establishment of a Panchala dynasty during c. 300-350 CE. We know that the last Panchala king, Achyuta, was defeated by Samudragupta and therefore must have been his contmporary. The dates given below for individual kings are based on the estimates of Shrimali."

Yajnabala, AE quarter karshapana, c. 85-75 BCE

Weight: 1.33 gm., Diam: 13 mm.

Ref:  MAC ---

                Although Yajnabala (or Yajnapala) is listed according to Shrimali's date, it seems he belongs much later in the series. Note the close similarity between this coin and the small denomination coins of Agnimitra below. They clearly belong in the same general time period.

Dhruvamitra, AE half karshapana, c. 65-50 BCE

Weight: 5.42 gm., Diam: 20 mm.

Ref:  MAC 4538 var., Shrimali type 1

Vishnumitra, AE half karshapana, c. 20-10 BCE

Weight: 4.07 gm., Diam: 16 mm.

Ref:  MAC ---

Vishnumitra, AE quarter karshapana, c. 20-10 BCE

Weight: 1.61 gm., Diam: 12 mm.

Ref:  MAC ---

Suryamitra, AE double karshapana, c. 10 BCE - 1 CE

Weight: 16.00 gm., Diam: 25 mm.

Ref:  MAC 4547.

Bhanumitra, AE double karshapana, c. 1-20 CE

Weight: 12.58 gm., Diam: 25 mm.

Ref:  MAC 4549.

                A very interesting coin, in which Bhanu (the sun) is depicted as a solar disc surrounded by emanating rays and is then garlanded with a pendant necklace ... a beautiful depiction!

Bhanumitra, AE double karshapana, c. 1-20 CE

Weight: 12.94 gm., Diam: ? mm.

Ref:  MAC 4549 var.

                A gorgeous example of a more normal depiction of the radiate sun on a pedestal. (Photo courtesy Girish Sharma.)

Bhanumitra, AE karshapana, c. 1-20 CE

Weight: 6.21 gm., Diam: 20 mm.

Ref:  MAC 4550.

Bhanumitra, AE quarter karshapana, c. 1-20 CE

Weight: 2.50 gm., Diam: 15 mm.

Ref:  MAC ---

Jayamitra, AE half karshapana, c. 25-45 CE

Weight: 3.99 gm., Diam: 16 mm.

Ref:  MAC ---

Indramitra, AE half karshapana, c. 45-65 CE

Weight: 4.66 gm., Diam: 15 mm.

Ref:  MAC 4539

Indramitra, AE quarter karshapana, c. 45-65 CE

Weight: 2.54 gm., Diam: 13 mm.

Ref:  MAC ---

Indramitra, AE one-sixteenth karshapana, c. 45-65 CE

Weight: 0.51 gm., Diam: 9 mm.

Ref:  MAC ---

Bhumimitra, AE double karshapana, c. 65-80 CE

Weight: 15.52 gm., Diam: 25 mm.

Ref:  MAC 4549.

Agnimitra, AE karshapana, c. 80-100 CE

Weight: 5.84 gm., Diam: 18 mm.

Ref:  MAC 4557.

                Agni is depicted with flaming hair on the obverse.

Agnimitra, AE half karshapana, c. 80-100 CE

Weight: 2.29 gm., Diam: 12 mm.

Ref:  MAC 4561.

Agnimitra, AE half karshapana, c. 80-100 CE

Weight: 2.68 gm., Diam: 15 mm., Die axis: 9 o'clock

Ref:  MAC 4561 var.

                Although this is the same denomination as the previous coin, Agni is depicted here only symbolically, as a lamp or a flame. (Photo, courtesy Amit Udeshi)

Agnimitra, AE quarter karshapana, c. 80-100 CE

Weight: 1.41 gm., Diam: 13 mm.

Ref:  MAC ---

                On lower denomination coins, Agni is depicted only symbolically, as a lamp or a flame.

Agnimitra, AE quarter karshapana, c. 80-100 CE

Weight: 1.38 gm., Diam: 13 mm.

Ref:  MAC ---

Agnimitra, AE one-eighth karshapana, c. 80-100 CE

Weight: 0.95 gm., Diam: 13 mm.

Ref:  MAC ---

Agnimitra, AE one-sixteenth karshapana, c. 80-100 CE

Weight: 0.56 gm., Diam: 10 mm.

Ref:  MAC ---

Agnimitra, AE one-sixteenth karshapana, c. 80-100 CE

Weight: 0.55 gm., Diam: 10 mm.

Ref:  MAC ---

Phalgunimitra, AE double karshapana, c. 110-120

Weight: 13.59 gm., Diam: 23 mm.

Ref:  MAC 4542.

Suryamitra, AE double karshapana, c. 10 BCE - 1 CE

Weight: 11.85 gm., Diam: 22 mm.

Ref:  MAC 4548.

                Coins of this type are also known for Indramitra.

Bhanumitra, AE double karshapana, c. 1-20 CE

Weight: 13.69 gm., Diam: 21 mm.

Ref:  MAC ---

Bhumimitra, AE double karshapana, c. 65-80 CE

Weight: 15.06 gm., Diam: 24 mm.

Ref:  MAC ---

Agnimitra, AE double karshapana, c. 80-100 CE

Weight: 13.23 gm., Diam: 23 mm.

Ref:  MAC ---

Phalgunimitra, AE double karshapana, c. 110-120

Weight: 13.97 gm., Diam: 23-24 mm.

Ref:  MAC ---

Coins without texts (epigraphy) 

Anonymous, AE one-sixteenth karshapana

Weight: 0.36 gm., Dim: 11 x 11 mm.

Ref:  MAC ---

                This coin and the next have no legends, only depictions of the Panchala symbols. Perhaps they were issued in the period between the last of the named coin issues and the coins of Achyuta, which are so different in design. This coin, previously unpublished, displays a superb fine style. Shrimali reports one rectangular coin in his entire corpus of Panchala coins.

Anonymous, AE one-sixteenth karshapana

Weight: 0.44 gm., Dim: 10 x 8 mm.

Ref:  MAC ---

                Restoration coins, c. 300-350 CE

Achyuta, AE quarter karshapana, c. early 4th century

Weight: 1.50 gm., Diam: 14 mm.

Ref:  MAC 4727

Achyuta, AE quarter karshapana, c. early 4th century

Weight: 2.05 gm., Diam: 13 mm.

Ref:  MAC 4727 var

                Shrimali studied and listed 400 spoked-wheel coins of Achyuta. Of these, 399 had 8 spokes (like on the previous coin) and 1 had 12 spokes. Not a single one had 7 spokes, as on this coin.

Achyuta, AE one-eighth karshapana, c. early 4th century

Weight: 1.09 gm., Diam: 12 mm.

Ref:  MAC 4727 type

Source for the provenience, images and readings:http://coinindia.com/galleries-panchala-kingdom.html

Pāratarājas (Rulers of Balochistan, 2nd-3rd cent.) Brahmi-Kharoshthi syllabic overlays in chronological sequence

"The research has been published in three separate papers. The first paper, which appeared in Numismatic Chronicle, 2006, corrected and organized the silver Brahmi legend coins. Thesecond paper, Numismatic Chronicle, 2009, corrected and organized the Kharoshthi legend coins and also showed the relationships between the two series and suggested an absolute chronology. The third paper, published in the Special Supplement to issue number 205 (Summer 2010) of the Journal of the Oriental Numismatic Society, synthesized all the previous work and presented it as a unified whole. Most collectors have been using Senior's catalogues of these coins. Senior's original catalogue was published in Volume 2 of his Catalogue of Indo-Scythian Coins, and his up-dated catalogue, which adopted the results of my 2006 paper for the Brahmi legend coins, was published in his Addendum Volume 4...A poster on this coinage, prepared for the XV International Numismatic Convention in Taormina, Sicily (September 21-25, 2015) can be seen here. "

Coin 1: Yolamira, silver drachm, early type

c. 125-150 CE

Weight:3.72 gm., Diam:16 mm.

Diademed bust right, dotted border /

Swastika right, Brahmi legend around:

(at 8h) Yolamirasa Bagarevaputasa Pāratarāja (ja retrograde)

(Of Yolamira, son of Bagareva, Pārata King)

                The names Yolamira and Bagareva betray the Iranian origin of this dynasty. The suffix Mira refers to the Iranian deity Mithra. Yolamira means "Warrior Mithra." Bagareva means "rich God." (My thanks to Nicholas Sims-Williams for help in understanding the names of the kings.) sattva 'svastika symbol' rebus: sattva 'zinc' jasta 'zinc'

Coin 2: Yolamira, silver drachm, late type

c. 125-150CE

Weight:3.91 gm., Diam:15-16 mm.

Diademed bust right, dotted border /

Swastika right, retrograde Brahmi legend around:

(at 7h) Yolamirasa Bagarevaputasa Pāratarājasa

(Of Yolamira, son of Bagareva, Pārata King)

                We know this coin is from late in Yolamira's reign, because it shares a die with coins of his son Bagamira and Arjuna ... see the next two coins.

Coin 3: Bagamira, silver drachm, late type

c. 150 CE

Weight:3.66 gm., Diam:15 mm.

Diademed bust right, dotted border /

Swastika right, Brahmi legend around:

(at 12h) Bagamirasa Yolamiraputrasa Pāratarājasa

(Of Bagamira, son of Yolamira, Pārata King)

                Bagamira was probably Yolamira's oldest son, as he used his father's obverse die, which was then re-used by his younger brother Arjuna ... see the next coin. So Bagamira must have had a very short reign. This coin is so far the only one known of Bagamira ... photo courtesy Anne van't Haaff.

Coin 4: Arjuna, silver drachm, early type

c. 150-165 CE

Weight:4.46 gm., Diam:16 mm.

Diademed bust right, dotted border /

Swastika right, Brahmi legend around:

(at 9h) Arjunasa Yolamiraputasa Pāra (sic! tarajasa missing)

(Of Arjuna, son of Yolamira, Pārata King

                Thia coin shares an obverse die with coins 2 (Yolamira) and 3 (Bagamira). Since Arjuna issued coins with other dies, this must have been his early type and proves he followed Bagamira.

Coin 5: Arjuna, silver drachm, late type

c. 150-165 CE

Weight:3.55 gm., Diam:17 mm.

Diademed bust right, dotted border /

Swastika right, Brahmi legend around:

(at 9h) Arjunasa Yolamiraputasa Pārata jasa (sic! ra missing)

(Of Arjuna, son of Yolamira, Pārata King

Coin 6: Hvaramira, silver drachm, early type

c. 165-175 CE

Weight:3.39 gm., Diam:14 mm.

Diademed bust right, dotted border /

Swastika right, Brahmi legend around:

(at 9h) Hvaramirasa Yolamirasaputasa Pāratarāja (no sa)

(Of Hvaramira, son of Yolamira, Pārata King))

                Since this coin shares a die with the previous coin of Arjuna, who also issued coins that shared a die with Yolamira, we conclude that Hvaramira was Arjuna's younger brother, or at least that he ruled after him. No coins are known of any of Arjuna's sons.

Coin 7: Hvaramira, silver drachm, late type

c. 165-175 CE

Weight:3.64 gm., Diam:15-16 mm.

Diademed bust right, dotted border /

Swastika left, Brahmi legend around:

(at 6h) Hvaramirasa Yodamirasaputasa Pāratarājasa

(Of Hvaramira, son of Yolamira, Pārata King))

                Since this coin shares a die with the next coin of Hvaramira's son, we can infer that this was produced later in Hvaramira's reign. Note the left-turning swastika and the unusual spelling of Yolamira's name ... here spelled Yodamira. The word Yola means "war" in middle Persian, while "Yoda" begins to sound like "Yuddha" ... "war" in Sanskrit.

Coin 8: Mirahvara, silver drachm, early type

c. 175-185 CE

Weight:3.57 gm., Diam:15 mm.

Diademed bust right, dotted border /

Swastika left, Brahmi legend around:

(at 12h) Mirahvarasa (H)va(ramiraputrasa) Pāratarāja (no sa)

(Of Mirahvara, son of Hvaramira, Pārata King)

                In a now familiar pattern, the early coins of Mirahvara use the late dies of his father. Note the unusual letter forms on this coin.

Coin 9: Mirahvara, silver hemidrachm

c. 175-185 CE

Weight:1.65 gm., Diam:11-12 mm.

Diademed bust right, dotted border /

Swastika right, Brahmi legend around:

(at 11h) Mirahvarasa Hvaramiraputrasa Pāratarāja (no sa)

(Of Mirahvara, son of Hvaramira, Pārata King)

                Mirahvara revived the issuance of hemidrachms like this one (no hemidrachm of Hvaramira is known), using an obverse die that had been used by Arjuna and even Yolamira! This coin features "older" letter-forms.

Coin 10: Mirahvara, silver hemidrachm

c. 175-185 CE

Weight:1.80 gm., Diam:13-14 mm.

Diademed bust right, dotted border /

Swastika right, Brahmi legend around:

(at 11h) Mirahvarasa Hvaramiraputrasa Pāra (legend truncated)

(Of Mirahvara, son of Hvaramira, Pārata King)

                A hemidrachm with the more unusual letter forms.

 Coin 11: Mirahvara, silver drachm, late type

c. 175-185 CE

Weight:3.08 gm., Diam:15-16 mm.

Diademed bust right, dotted border /

Swastika right, Brahmi legend around:

(at 10h) Mirahvarasa Hvaramiraputrasa Pāratarājasa

(Of Mirahvara, son of Hvaramira, Pārata King)

Coin 12: Miratakhma, silver drachm, early type

c. 185-200 CE

Weight:3.39 gm., Diam:14 mm.

Diademed bust right, dotted border /

Swastika right, Brahmi legend around:

(at 12h) Miratakhmasa Hvaramiraputrasa Pāratarājasa

(Of Miratakhma, son of Hvaramira, Pārata King)

                Although this coin's obverse die was badly cracked, it is clearly identifiable as the same die that was used to produce coin 11 of Mirahvara ... there are coins of Mirahvara that show the same deep die crack. Miratakhma appears to have been the younger brother of Mirahvara, since he shares a die only with his brother and not with his father.

Coin 13: Miratakhma, silver drachm

c. 185-200 CE

Weight:3.30 gm., Diam:15 mm.

Diademed bust right, dotted border /

Swastika right, Brahmi legend around:

(at 9h) (Mi)ratakhmasa Hvaramirapu(trasa Pāratarāja)

(Of Miratakhma, son of Hvaramira, Pārata King)

                The letter forms on this coin are most unusual, particularly the compound letter khma. It also has a quite unusual portrait style.

Coin 14: Miratakhma, silver drachm, late type

c. 185-200 CE

Weight:3.55 gm., Diam:15 mm.

Diademed, crowned bust left, dotted border /

Swastika right, Brahmi legend around:

(at 12h) Miratakhmasa (Hvaramiraputrasa) Pāratarāja

(Of Miratakhma, son of Hvaramira, Pārata King)

                This coin has a couple of innovations that mark it as coming from late in Miratakhma's reign: it is the first Pāratarāja coin to have the king's bust facing left, and it is also the first coin to show the king wearing a crown ... a peaked tiara.

Coin 15: Kozana, silver drachm (reduced weight standard)

c. 200-225 CE

Weight: 2.23 gm., Diam:15 mm.

Diademed, crowned bust left, dotted border /

Swastika right, Kharoshthi legend around:

(at 11h, counterclockwise) Kozanasa Bagavharnaputrasa Pāratarājasa

(Of Kozana son of Bagavharna, Pārata King)

                Kozana was the first Pāratarāja king to issue coins with the legends in Kharoshthi, like on this coin. Most authors had presumed that the Kharoshthi legend coins must have come before the Brahmi legend coins, as it was Brahmi that replaced Kharoshthi everywhere else in India. But it can be shown that Kozana's coins came after the Brahmi legend coins. His are the only Kharoshthi legend coins in silver and he follows the style of Miratakhma's late coins, with the bust left and the tiara crown (seen even better on the next coin). For more, see Pankaj Tandon's 2009 paper.

Coin 16: Kozana, silver hemidrachm (reduced weight standard)

c. 200-225 CE

Weight: 1.04 gm., Diam:12-13 mm.

Diademed, crowned bust left, dotted border /

Swastika right, Kharoshthi legend around:

(at 10h, counterclockwise) Kozanasa Bagavharnaputrasa Pāratarājasa

(Of Kozana son of Bagavharna, Pārata King)

                This coin shows the peaked tiara, initiated by Miratakhma, very clearly. No one knows for sure who was Kozana's father Bagavharna (pronounced Bagafarna) was, but I have suggested in my 2009 paper that he was Bagamira's son.

Coin 17: Bhimarjuna, billon drachm (reduced weight standard)

c. 225-235 CE

Weight: 2.09 gm., Diam:15-16 mm.

Diademed, crowned bust left, dotted border /

Swastika right, Kharoshthi legend around:

(at 12h, counterclockwise) Bhimarjunasa Yolatakhmaputrasa Pāratarāja (no sa)

(Of Bhimarjuna son of Yolatakhma, Pārata King)

                With Bhimarjuna, the debasement of the Pārata currency starts. Some early coins show more silver than this one; later coins seem to be almost pure copper. The fact that Bhimarjuna's coinage shows the gradual debasement proves that he followed Kozana. Although we do not know who was Bhimarjuna's father, Yolatakhma, I have argued that he must have been Arjuna's son.

Coin 18: Koziya, copper drachm (reduced weight standard)

c. 235-265 CE

Weight: 2.21 gm., Diam:14-15 mm.

Diademed, crowned bust left, dotted border /

Swastika right, Kharoshthi legend around:

(at 1h, counterclockwise) Koziyasa Kozanaputrasa Pāratarājasa

(Of Koziya son of Kozana, Pārata King)

                Although Koziya was Kozana's son, it seems fairly clear that he did not follow his father to the throne but had to wait until the end of his "uncle" Bhimarjuna's reign. None of Koziya's coins show any trace of silver, plus his portrait is more different from Kozana's than Bhimarjuna's was. Finally, Koziya introduced a standing king type that was then copied by later rulers.

Coin 19: Koziya, copper drachm (reduced weight standard)

c. 235-265 CE

Weight: 1.54 gm., Diam:12-14 mm.

Diademed, crowned bust left, dotted border /

Swastika right, Kharoshthi legend around:

(at 9h, counterclockwise) Koziyasa Kozanaputrasa Pāratarāja (no sa)

(Of Koziya son of Kozana, Pārata King)

                Koziya issued several differnt types of copper drachms, some of very fine style, such as this one. Here, Koziya's portrait features a mustache for the first time. So Koziya must have risen to the throne as a teenager and probably had quite a long reign, given the wide variety of types he issued.

Coin 20: Koziya, copper drachm (reduced weight standard)

c. 235-265 CE

Weight: 1.28 gm., Diam:12-13 mm.

Diademed bust right, wearing elaborate head-dress, dotted border /

Swastika right, Kharoshthi legend around:

(at 12h, counterclockwise) Koziyasa Kozanaputrasa Pāratarāja (no sa)

(Of Koziya son of Kozana, Pārata King)

                Here Koziya issued a copper drachm with the bust facing right and wearing a new type of head-dress.

Coin 21: Koziya, copper di-drachm

c. 235-265 CE

Weight: 3.87 gm., Diam: 20-21 mm.

King standing facing, head turned to right, Brāhmi legend at left: Koziya

Swastika turning right, Kharoshthi legend around (at 12 o'clock):

     Koziyasa Kozanaputrasa Paratarajasa

     (Of Koziya son of Kozana, Pārata King)

                This seemingly insignificant copper coin has unlocked whole chapters of ancient Indian history! Because it has both a Brāhmi and a Kharoshthi legend, it served as a sort of "Rosetta Stone" to unlock the name of this king: Koziya (previously read as Spajheya) and thereby helped to reorganize our understanding of the coinage of the Pāratarājas. For more, see 2009 paper. The coin is also helping re-write the history of the Western Kshatrapas; for more on this, see the paper The Western Kshatrapa Dāmazāda, also forthcoming in the Numismatic Chronicle, 2009.

Coin 22: Datarvharna, copper di-drachm (reduced weight standard)

c. 265-280 CE

Weight: 3.40 gm., Diam:17-18 mm.

King standing facing, head turned to left/

Swastika right, Kharoshthi legend around:

(at 2h, counterclockwise) Datarvharnasa Datayolaputrasa Pāratarāja (no sa)

(Of Datarvharna, son of Datayola, Pārata King)

                Datarvharna (pronounced Datarfarna) may have been Bhimarjuna's grandson. He issued no drachms as far as we know, only these didrachms with the standing king. His coins can be distinguished by the fact that the king is facing left (Koziya's standing king faces right) and the swastika turns to the right (the next coin, of Datarvharna's son Datayola has the swastika turning left).

Coin 23: Datayola II, copper di-drachm (reduced weight standard)

c. 280-300 CE

Weight: 2.83 gm., Diam:17-19 mm.

King standing facing, head turned to left/

Swastika left, Kharoshthi legend around:

(at 6h, counterclockwise) Datayolasa Datarvharnaputrasa Pāratarājasa

(Of Datayola, son of Datarvharna, Pārata King)

                Datayola must have been named for his grandfather. His coins can be distinguished by the fact that the king is facing left and the swastika also turns to the left. Datayola's coins proved crucial to the proper dating of this dynasty. His coins have been found overstruck on coins of the Kushano-Sasanian king Hormizd I, who is dated to 270-290. Thus Datayola II must have ruled somewhat contemporaneously or just after Hormizd.

Coin 24: Datayola II, copper tetradrachm (reduced weight standard)

c. 280-300 CE

Weight: 7.72 gm., Diam: 20 mm.

Diademed bust of king left/

Swastika right, Kharoshthi legend around:

(counterclockwise) Datayolasa Datavharnaputrasa Pāratarājasa

(Of Datayola, son of Datarvharna, Pārata King)

                Datayola issued this entirely new donomination - a tetradrachm. This is the heaviest Pāratarāja coin known.

Source for the provenience, images and readings: 
http://coinindia.com/galleries-parata-rajas.html

Ujjain Die-struck coins

"Avanti in ancient western Malwa was one of the Mahajanapadas and Ujjain was the dominant urban center of that region. It was described as a very fertile land of mild climate with a prosperous and flourishing trade. Particular mention was made of agricultural products, cotton crafts, a highly developed iron industry, mineral resources, ivory, pearls, corals and precious stones. Trade routes crossed at Ujjain connecting it closely with the other trade centers of that time. In the 4th century BC Avanti lost its independence being henceforth a province of the Mauryan Empire. Before he became king himself, Asoka was appointed as viceroy of Ujjain by his father, king Bindusara. After Asoka's death weak successors followed him and central control soon diminished giving way to local independence…..Only one type of the series bears the city-name, a few types bear personal names, but the vast majority are anonymous. The characteristic reverse design, the cross with a circle at each end, became the 'trade mark' of Ujjain coins and is thus well known as 'Ujjain symbol', even though it also appears on many coins outside the Ujjain region. Weights differ widely within the series from pieces of less than 0.5g to heavy weights of 25g (the heaviest recorded specimen offered at a public auction weighed 25.8g)...Only one type of the series bears the city-name, a few types bear personal names, but the vast majority are anonymous. The characteristic reverse design, the cross with a circle at each end, became the 'trade mark' of Ujjain coins and is thus well known as 'Ujjain symbol', even though it also appears on many coins outside the Ujjain region. Weights differ widely within the series from pieces of less than 0.5g to heavy weights of 25g (the heaviest recorded specimen offered at a public auction weighed 25.8g). 

Devices frequently seen on Ujjain coins are symbols and animals comparable to those on other coins of ancient India. Many of such symbols refer to different forms of nature worship among them celestial symbols, mountains, trees, water-ponds and rivers and among the animals bull, elephant, horse and lion occupy a prominent position. Of special interest are human depictions as they are among India's earliest representations of deities in anthropomorphic form and thus most important for the iconographic development of these deities. In most cases single human figures are depicted, standing, squatting, dancing or sitting, representing various HIndu gods and goddesses. Different researchers have tried to identify them and have frequently come to divergent conclusions. The matter is not simple as in this early stage of iconography the depiction of a deity together with its characteristic symbols and attributes was not yet fully developed and sometimes different deities were even associated with the same symbols. The latest approach to the subject is Devendra Handa's brilliant paper on 'Divinities on Ujjain Coins', ICS-NL 51, 2013' who clarified controversies on some deities and originally proposed the identification of others. The most prominent figure on these coins is ceratainly Shiva Mahakala whose cult was most  important at Ujjain,  and Lakshmi who experienced a general adoration by believers of different cults who wouldn't have hesitated to beg assistance from the goddess of wealth, prosperity and fortune. But apart from Shiva and Lakshmi other deities are also depicted on the coins of ancient Ujjain, such as Karttikeya, Shashthi, Vasudhara, Krishna, Brahma and others, according to the well-founded identifications of Devendra Handa...Inanimate, symbolic depictions most frequently occurring on Ujjain copper coins are the railed tree, chakra, six-armed symbol, svastika, taurine, Indradhvaja, srivatsa, river and fish-tank. A few other symbols like sun, wheel, tree-on-hill and railed lingam have to be added to this list..."

ujjain135

Maurya,  punchmarked AR karshapana,  'standing Shiva type'

Weight:  3.57 gm., Dimensions: 16 x13mm.

Standing Shiva with crested hair holding danda and kamandalu; sun; six-armed symbol;

     three-arched hill with crescent on top; 'bale-mark'.

'Bale-mark'

Reference:  Pieper 135 (plate coin)/ GH 566

                Typologically this Mauryan karshapana type will become an important prototype on the way towards the 'Shiva type' of the local Ujjain coin series.

ujjain166

Ujjain region, punchmarked AE,  'standing Shiva type'

Weight:  2.21 gm., Dimensions: 12x11 mm.

Standing Shiva; sun; six-armed symbol; three-arched hill with crescent on top;

     'bale-mark'.

'Bale-mark'.

Reference:  Pieper 166 (plate coin)

                These coins are still close copies of the silver karshapana type listed above but they are no longer issued in silver. They still maintain the 'bale-mark' reverse symbol of their prototype.

ujjain164

Ujjain, punchmarked AE,  'standing Shiva type'

Weight:  3.88 gm., Dimensions: 14 mm.

Standing Shiva holding danda and kamandalu; sun; six-armed symbol; tree.

'Bale-mark' and Ujjain symbol.

Reference:  Pieper 164 (plate coin)

                Typologically this type departs further from the Mauryan prototype towards the  typical local Ujjain 'Shiva type'. On that type Shiva will henceforth occupy the dominant position to which the associated symbols are subordinated. As can be seen below these associated symbols are frequently still the same as on the Mauryan prototype, particularly sun and six-armed symbol. This coin is still punchmarked in contrast to the subsequent types which are all die-struck, but the symbol arrangement on the coin flan is already more a composition than a randomly done application of punches. On the reverse the 'bale-mark' is still maintained but now it is accompanied by the Ujjain symbol. In the further development the 'bale-mark' will disappear and the Ujjain symbol alone will become the reverse emblem of the whole series.

               

                Ujjain: Shiva types

ujjain265

Ujjain, anonymous, AE 1/2 karshapana,  'standing Shiva type'

Weight:  4.94 gm., Dimensions: 16 mm.

Standing Shiva holding danda in right and kamandalu in left; sun above railed tree

     on left and 6-armed symbol above taurines on right.

Double-orbed Ujjain symbol.

Reference:  Pieper 265 (plate coin)/ BMC pl.XXXVIII, nos.5-6

                Devendra Handa in 'Divinities on Ujjain Coins', ICS-NL 51, p.5: "The commonest figure is that of a male bearing matted locks or a top-knot and holding a staff and water vessel in his two hands corresponding almost exactly to the description of Rudra-Shiva in the Skanda Purana." The importance of the Shiva cult at Ujjain and the combined depiction of the same figure with a bull, the vahana of Shiva, support its identification as Shiva.

ujjain267

Ujjain, anonymous AE 3/4 karshapana, 'standing Shiva type'

Weight:  7.25 gm., Dimensions: 17 mm.

Standing Shiva holding danda in right and kamandalu in left; sun above railed tree

     on left and six-armed symbol on right; taurine on top; river at bottom

Double orbed Ujjain symbol

Reference: Pieper 267 (plate coin)

ujjain268

Ujjain, anonymous AE 3/4 karshapana, 'standing Shiva type'

Weight:  7.22 gm., Dimensions: 17 mm.

Standing Shiva holding danda in right and kamandalu in left; sun above railed tree

     on left and 6-armed symbol on right; taurine and svastika on top.

Double-orbed Ujjain symbol

Reference: Pieper 268 (plate coin)

ujjain269

Ujjain, anonymous AE 1 1/2 karshapana, 'Shiva standing on lotus'

Weight:  11.99 gm., Dimensions: 18 mm.

Shiva standing on lotus holding danda in right and kamandalu in left;

     railed tree on left; six-armed symbol above taurine on right.

Double-orbed Ujjain symbol

Reference: Pieper 269 (plate coin)

                The depiction of the deity with danda and kamandalu is like on the previous coins except that the god is standing on a lotus on this specimen.

ujjain270

Ujjain, anonymous AE 1 1/2 karshapana,  'standing Shiva type'

Weight:  12.10 gm., Dimensions: 18 mm.

Shiva-like figure standing with danda in right and kamandalu on left; railed tree on

     left with taurines below.

Double-orbed Ujjain symbol with an extra dot in center of each orb.

Reference: Pieper 270 (plate coin)

ujjain271

Ujjain, anonymous AE 1/2 karshapana, 'standing Shiva type'

Weight:  4.26 gm., Dimensions: 16 mm.

Standing Shiva holding danda and kamandalu; railed tree on left; six-armed

     symbol above unconnected Ujjain symbol on right; river line at bottom.

Ujjain symbol with a svastika inside each orb and circles in the angles.

Reference: Pieper 271 (plate coin)

ujjain272

Ujjain, anonymous AE 3/8 karshapana, 'standing Shiva type'

Weight:  3.58 gm., Dimensions: 14 mm.

Standing Shiva holding danda and kamandalu; cakra above Indradhvaja on left;

     railed tree on right; river at the botom.

Ujjain symbol

Reference:  Pieper 272 (plate coin)

ujjain273

Ujjain, anonymous AE, 'standing Shiva type'

Weight:  1.64 gm., Dimensions: 13 mm.

Standing Shiva holding danda and kamandalu; railed tree on left; svastika on top;

     cakra on right.

Ujjain symbol with a svastika in each orb.

Reference: Pieper 273 (plate coin) / BMC, pl.XXXVIII, no.10

ujjain274

Ujjain, anonymous AE 3/8 karshapana, 'standing Shiva-like type'

Weight:  3.34g, Dimensions: 12 mm

Standing male deity both hands akimbo, danda in right; three-arched hill above

     river on left; cakra above railed tree on right.

Ujjain symbol with a svastika in each orb and footprints in angles.

Reference: Pieper 274 (plate coin) / Kothari 234 (who saw the footprints as taurines).

                The depiction of the footprint (paduka) of a deity is a well known  symbol of worship but it allows no attribution to a specific deity, as this symbol was used

by followers of different deities, among them Buddha, Shiva and Vishnu.

ujjain275

Ujjain, anonymous AE 1/4 karshapana, 'dancing Shiva  type'

Weight:  2.35 gm., Dimensions: 13 mm.

Shiva in dancing pose with both knees slightly bent holding curved club-like

     danda  and kamandalu; river on left; leaves of a tree on right.

Double orbed Ujjain symbol with crescents in angles.

Reference:  Pieper 275 (plate coin)

ujjain276

Ujjain, anonymous AE  1/4karshapana, 'poly-cephalous Shiva type'

Weight:  2.65 gm., Dimensions: 12 mm.

Multi-headed Shiva holding danda and kamandalu; tree on left; (cakra above

     fish-tank on right)

Double orbed Ujjain symbol surrounded by river with fish.

Reference: Pieper 276 (plate coin) / BMC, pl. XXXVIII, no.19

ujjain280

Ujjain, anonymous AE 1/2 karshapana, 'poly-cephalous Shiva type'

Weight:  4.32 gm., Dimensions: 17 mm.

Multi-headed standing Shiva holding danda and kamandalu; railed tree on right;

     cakra above fish-tank on left.

Double orbed Ujjain symbol.

Reference: Pieper 280 (plate coin) / BMC, pl.XXXVIII, no.22

ujjain281

Ujjain, anonymous AE, 'crested standing Shiva type'

Weight:  1.82 gm., Dimensions: 12 mm.

Crested Shiva standing to right; railed tree on left; cakra above fish-tank on left;

     river at the bottom.

Double-orbed Ujjain symbol.

Reference:  Pieper 281 (plate coin) / BMC, pl.XXXVIII, no.14

                In contrast to the above listed coins with depictions of Shiva with a top-knot hairdress, the hairstyle of the 'crested Shiva type' is depicted in a ponytail fashion thus reflection the 'matted locks' of Shiva as described in ancient texts.

ujjain282

Ujjain, anonymous AE, 'crested standing Shiva type'

Weight:  0.72 gm., Dimensions: 9 mm.

Crested Shiva standing to left holding danda and kamandalu; railed tree on left;

     taurine on top.

Ujjain symbol with alternating svastikas and taurines in its orbs.

Reference: Pieper 282 (plate coin) / BMC, pl.XXXVIII, nos. 11-12

ujjain284

Ujjain, anonymous AE, 'Shiva-like figure holding kamandalu before breast'

Weight:  1.10 gm., Dimensions: 10 mm.

Shiva-like standing figure holding danda and kamandalu; taurine above standard

     on left.

Ujjain symbol

Reference: Pieper 284 (plate coin)

                The unusual feature of this coin is the position of the kamandalu which appears to be held by the standing deity just in front of its breast.

ujjain284v

Ujjain, anonymous AE, 'Shiva-like figure holding kamandalu before breast'

Weight:  1.2 gm., Dimensions: 11 mm.

Shiva-like standing figure holding danda and kamandalu; taurine above standard on left,

     srivatsa above a lotus-like symbol at right

Double-orbed Ujjain symbol

Reference: Pieper 284

                This beautifully preserved specimen clearly confirms that the deity is indeed holding a kamandalu in front of the breast. (Photo courtesy Prakash Jinjuvadiya.)

ujjain287

Ujjain, anonymous AE, 'standing Shiva type'

Weight:  1.72 gm., Dimensions: 12x11 mm

Standing Shiva holding danda and kamandalu; six-armed symbol on top.

Ujjain symbol.

Reference: Pieper 287 (plate coin)

ujjain289

Ujjain, anonymous AE 3/8 karshapana, 'standing Shiva type'

Weight:  3.16 gm., Dimensions: 18x14 mm.

Standing Shiva holding danda and kamandalu; cakra above svastika and standard

     on left; fish-tank above railed tree on right; river at the bottom.

Ujjain symbol with a svastika in each orb.

Reference: Pieper 289 (plate coin) / BMC, pl.XXXVII, nos.19-20

                A very artistic and detailled depiction of Shiva in his ascetic form.

ujjain319

Ujjain, anonymous AE 3/8 karshapana, 'standing Shiva + nandi type'

Weight:  3.18 gm., Dimensions: 18x16 mm.

Standing Shiva holding danda and kamandalu, nandi facing from left towards the

     deity; cakra and standard on top left.

Double-orbed Ujjain symbol.

Reference: Pieper 319 (plate coin)

ujjain318

Ujjain, anonymous AE 1/2 karshapana, 'standing Shiva + nandi type'

Weight:  5.03 gm., Dimensions: 17x15 mm.

Standing Shiva holding danda and kamandalu, nandi on the left facing towards the

     viewer; cakra and Indradhvaja on top; parts of tree on right.

Ujjain symbol with a svastika in each orb.

Reference: Pieper 318 (plate coin)

ujjain321

Ujjain, anonymous AE 1/2 karshapana, 'standing Shiva + nandi type'

Weight:  5.31 gm., Dimensions: 17x17 mm.

Standing Shiva on right with nandi on left facing towards the deity; railed tree in

     center between Shiva and bull.

Ujjain symbol.

Reference: Pieper 321 (plate coin)

ujjain322

Ujjain, anonymous AE 2 karshapana, 'standing Shiva + nandi type'

Weight:  15.53 gm., Dimensions: 26x21 mm.

Standing Shiva on right with nandi on left facing towards the deity; railed tree in

     center between Shiva and bull; taurines on top and a svastika on right bottom;

     river with diverse aquatic creatures at the bottom.

Double-orbed Ujjain symbol with an extra arm topped by a taurine in each angle.

Reference: Pieper 322 (plate coin)

                An unusual heavy weight standard for the series. The heaviest recorded specimen offered at a public auction weighed 25.8 gm thus roughly representing a triple copper karshapana.

ujjain313

Ujjain, anonymous AE 1 1/2 karshapana, 'standing Shiva + nandi type'

Weight:  13.38 gm., Dimensions: 20 mm.

Standing Shiva in center; bull facing the deity from left, Indradhvaja above the bull;

    railed tree on right; river at the bottom.

Double-orbed Ujjain symbol with a taurine in each angle.

Reference: Pieper 313 (plate coin)

ujjain311

Ujjain, anonymous AE 1/2 karshapana, 'standing Shiva+ nandi type'

Weight:  3.40 gm., Dimensions: 18 mm.

Standing Shiva holding danda and kamandalu; bull facing the deity from the right;

     Ujjain symbol on top; railed tree on left; river at the bottom.

Ujjain symbol with a svastika in each orb.

Reference: Pieper 311 (plate coin)

ujjain307

Ujjain, anonymous AE 3/8 karshapana, 'seated Shiva + nandi type'

Weight:  3.44 gm., Dimensions: 14x14 mm.

Seated Shiva holding danda and kamandalu; bull facing the deity from left; Ujjain symbol

     above the bull; railed tree on right; river at the bottom.

Double-orbed Ujjain symbol with a taurine in each angle.

Reference: Pieper 307 (plate coin)

ujjain405

Ujjain, Bhumimitra AE, 'seated Lakulisha type'

Weight:  1.78 gm., Dimensions: 12 mm.

 Lakulisha seated on a lotus holding danda and kamandalu; cakra above tree on left;

     Brahmi legend 'bhumimitasa' in vertical placement on right.

Ujjain symbol with a small Ujjain symbol in each orb; nandipadas in angles.

Reference: Pieper 405 (plate coin)

                The seated figure on this coin type has been identified as Lakulisha by several scholars, among them Wakankar, Kothari and Bhatt. Lakulisha is described as  the 28th and last incarnation of Shiva. He propagated and reformed Shaivism  with special emphasis on Yoga practices. According to Handa (ICS-NL 51, p.24)"the god depicted here predates the textual prescriptions and is one of the earliest examples of the depiction of Lakulisha. Alternatively it may be said to be the representation of Yogeshvara Shiva."

ujjain407

Ujjain, inscribed AE 1/3 karshapana, elephant type

Weight: 2.93 gm., Diameter: 13x13 mm

Obv.: In a square incuse elephant standing to right with raised trunk; Brahmi

         legend around reading anti-clockwise with outwards directed letters

         'bhumimitasa'.

Rev.: Double-orbed Ujjain symbol with a taurine in each angle.

Reference: Pieper 407 (plate specimen)

                The 'seated Lakulisha type' inscribed in the name of Bhumimitra is a well known type among the rare inscribed coins of the local Ujjain series. This square elephant type inscribed in the same name Bhumimitra was completely unknown until the appearance of this unique specimen.

ujjain304              Ujjain, anonymous AE 3/8 karshapana, 'seated Lakshmi type'

Weight: 3.18 gm., Diameter: 16 mm.

Seated Lakshmi with feet parallel to each other, right hand on leg and

     left hand raised holding lotus flower.

Ujjain symbol.

Reference: Pieper 304 (plate coin) / BMC pl.XXXVIII, no.25

                Lakshmi, the wife of Vishnu, is the goddess of fortune, wealth and prosperity and one of the most popular divinities from the Hindu pantheon. Incarnations of Vishnu are Rama and Krishna, as incarnations of Lakshmi are Sita (Rama's wife) and Radha (Krishna's lover). Lakshmi has a special association to the lotus flower which stands for growth and fertility- so much that even the world is said to be continually reborn from a lotus which comes out of the navel of Vishnu.

ujjain305

Ujjain, anonymous AE 3/8 karshapana, 'abisheka-Lakshmi txpe'

Weight: 3.10 gm., Diameter: 15x11 mm.

Lakshmi seated with feet parallel to each other, her right rests on her

      belly and her left on her leg; Lakshmi is flanked by two elephants

      which are sprinkling water on her head (abisheka Lakshmi).

Reference: Pieper 305 (plate coin) / BMC pl.XXXVI, nos.4-5

                Abisheka is a late Vedic rite originally performed by anointing government officials at special occasions. In Hindu worship the abisheka ritual is particularly connected with Lakshmi, though it is also performed by other believers. 'Rudraabisheka' for example is peformed on Shiva lingams. As can be seen on this coin Lakshmi is frequently depicted with two elephants adoring her by pouring water over her head.

ujjain295

Ujjain, anonymous AE 1/8 karshapana, 'fish-holding Vasudhara'

Weight: 1.00 gm., Diameter: 8x8 mm.

Standing goddess Vasudhara holding a pair of fish with her outstretched

     right, left hand akimbo.; standard on right.

Ujjain symbol with extra circle in field.

Reference: Pieper 295 (plate coin)

                The fish-holding goddess is known on coins and sculptural objects from Malwa, Vidarbha, Mathura, Kausambi and elsewhere and has been identified as Vasudhara, a goddess of wealth and auspiciousness.  Like Lakshmi she was popular among traders and others who searched protection and promotion for their diverse activities. Handa emphasizes the symbolic importance of the pair of fish "as one of the eight mangalika-chihnas 'auspicious signs' in literature".

ujjain452

Central India, AE 1/8 karshapana,'fish-holding Vasudhara'

Weight: 1.01 gm., Diameter: 8x8 mm.

Standing goddess Vasudhara holding a pair of fish with her outstretched

     right, left hand akimbo; she wears large earrings and pinned up hair (as

     if wearing a vessel on her head); svastika on the top left.

Lion standing to right

Reference: Pieper 452 (plate coin)

                The provenance of this and the next coin is uncertain but may be assumed to be in western Malwa or closely linked regions south of the Narmada.

ujjain453

Central India, AE 1/8 karshapana, 'fish-holding Vasudhara'

Weight: 1.17 gm., Diameter: 11x8 mm.

Standing goddess Vasudhara holding a pair of fish with her outstretched

     right, left hand akimbo; her hair is pinned up (as if wearing a vessel on

     her head; two crescent-like devices on the left.

Tree

Reference: Pieper 453 (plate coin)

ujjain296

Ujjain, AE 1/4 karshapanaa, 'snake holding deity'

Weight: 2.83 gm., Diameter: 11x11 mm.

Frontally facing female figure, her left arm akimbo, her right raised hand holding

     an uncertain object; on the left is a curved object like a snake

    coming from a large basket that is standing at the bottom.

Ujjain symbol.

Reference: Pieper 296 (plate coin)

                It is possible that this is also a depiction of 'fish-holding' Vasudhara but there are some differences. The uplifted right is unusual and the fact that the deity would be holding one of the two fish directly in her hand seems to be unusual as well. Usually Vasudhara is holding the pair of fish with a string so that they are hanging below her outstretched hand. To me it looks more as if she was holding a snake in her hand and the curved object on left as well bears more resemblance to a snake. And the basket which is standing at the bottom reminds one of the baskets in which snake charmers keep their snakes. If this interpretation was true, the depicted figure might be a serpent goddess such as Manasa who is particularly worshipped in Bengal but also in other parts of northern and north-eastern India.

ujjain294

Ujjain, anonymous AE 3/8 karshapana, 'Annapurna type'

Weight: 3.17 gm., Diameter: 17x15 mm.

Frontally standing female figure holding a vase or pot in her upraised right

     hand, left akimbo; 6-armed symbol on top left; horizontally placed

     Indradhvaja and taurine on bottom left; railed tree on right.

Double-orbed Ujjain symbol.

Reference: Pieper 294 (plate coin) /BMC pl.XXXVII, no.21

                Handa suggested that the female on this coin may represent Annapurna (ICS-NL, 51, p.35). Annapurna is the Hindu goddess of nourishment, food, harvest and agriculture and hence very popular in the villages and rural regions of India. She is regarded as another form of Parvati, the consort of Shiva. Annapurna is depicted holding a bowl or pot filled with grain or other food. Her main temple stands in Varanasi but others are known at many other places among them a very famous one at Indore in Madhya Pradesh.

ujjain298

Ujjain, anonymous AE 3/4 karshapana, 'taurine-holding deity'

Weight: 3.00gm., Diameter: 15x14 mm.

Frontally standing female figure holding taurine in raised left, right akimbo;

     chakra above Ujjain symbol on left; svastika above railed tree on right.

Ujjain symbol with a svastika in each orb.

Reference: Pieper 298 (plate coin)/ BMC pl.XXXVII, no.8

                The identity of this taurine holding female remains uncertain at the moment.

ujjain300

Ujjain, anonymous AE 1/4 karshapana, 'six-headed Shashthi type'

Weight: 1.95 gm., Diameter: 14x12 mm.

Simplified female figure frontally standing, both arms hanging down; railed

     tree on right; river line at the bottom.

Ujjain symbol with svastika in each angle.

Reference: Pieper 300 (plate coin)

                Referring to depictions of six-headed Shashthi on some Yaudheya coins Devendra Handa takes the five dots around the main head of the female on this coin type as additional heads and identifies her  as Shashthi on this Ujjain type as well (ICS-NL, 51, p.34).

ujjain297

Ujjain, anonymous AE 3/8 karshapana, 'shoulder decorated deity'

Weight: 3.30 gm., Diameter: 15x15 mm.

In square incuse standing human on left with rings (bracelets) around the

     shoulders; Ujjain symbol in center; hand or footprint symbol on right;

     horizontally placed railed tree at top; river at the bottom.

Reference: Pieper 297 (plate coin)

                The identity of this peculiar human figure with the circles / rings/ ornaments at the shoulders is still open.

ujjain346

Ujjain, anonymous AE 3/8 karshapana,'Balarama & ass-demon'

Weight: 3.86 gm., Diameter: 15x14 mm.

Human figure on left holding stick and kamandalu standing towards a 

     horse-like animal which faces him from right; palm tree on right; Ujjain

     symbol on top; a taurine above the animal and taurine and svastika at

     the bottom.

Ujjain symbol with a svastika in each orb and taurines in the angles.

Reference: Pieper 346

                In a note to the SACG website Shailendra Bhandare suggested the scene on this coin representing the mythical story of 'Balarama killing the ass demon' and the depiction seems to reflect that story indeed quite well- even if the deity on this coin has no specific Vaishnavite attributes. We are told that there had been a large grove where there were palmyras bearing delicious fruits. But nobody dared to go there because the site was guarded by Dhenuka, a demon in the form of an ass. Finally Balarama, inseparable companion of Krishna, killed the demon by crashing him against one of the palm trees. In his contribution to 'Between the Empires' Bhandare discusses the story of 'Balarama killing the ass-demon' in the context of the coinage of Erikachha where the palm-tree and ass had been characteristic coin devices. Typologically this coin type may thus rather belong to Erikachha than to Ujjain.

ujjain410

Ujjain, anonymous AE, 'Brahma type'

Weight: 2.84 gm., Diameter: 14x14 mm.

Standing male figure holding long curved staff and kamandalu (water-pot)

     Ujjain symbol on top left and Brahmi legend 'bramha' on top right.

Six-arched chaitya (hill/ multiarched structure) with indistict object on top;

    indistinct Brahmi legend below the chaitya .

Reference: Pieper 410 (plate coin)

                In ICS-NL, no.50, p.31-32, Devendra Handa identified the deity on this coin type as Brahma as it is clearly indicated by the Brahmi legend on the right top corner of the obverse. Handa discusses the possibility that the object on top of the chaitya on reverse might be a swan (vahana or vehicle of Brahma) on post. Taking the chaitya symbol representing a temple in this case, it thus might be a temple dedicated to god Brahma. Brahma, creator of the universe, is part of the Hindu trinity together with Vishnu and Shiva. Although usually Brahma is represented as a four-armed deity with certain specific attributes, one cannot expect these features here, as the iconography was not yet developed that far and nowhere on these early coins do we see multi-armed deities. Staff and kamandalu (water-pot) are unspecific attributes which Brahma shares with other deities.

ujjain411

Ujjain, anonymous AE 3/8 karshapana, 'Brahma type'

Weight: 3.28 gm., Diameter: 15x13 mm.

Like the previous specimen but reverse design blank or corroded.

Reference: Pieper 411 (plate coin)

ujjain302

Ujjain, anonymous AE 1/4 karshapana, 'standing couple type'

Weight: 2.81 gm., Diameter: 17x15 mm.

Standing male and female human figure side by side holding hands, female's

     right hand raised to her head, male's left akimbo, hair decorations

     on both sides of the male's head; river at the bottom.

Ujjain symbol with a taurine in each orb.

Reference: Pieper 302 (plate coin)/ BMC pl.XXXVI, nos.1-3

                Several attempts have been made in the past to identify the two figures on this coin type. Amongst other explanations some researchers have tried to interpret the scene as representing the marriage of Shiva and Parvati but there is no clear evidence for any such definite attribution. In the abscence of any specific attributes one can only describe the scene as a depiction of a closely attached human couple.

ujjain417

Ujjain region, c/m anonymous AE 1/2 karshapana

Weight: 3.96 gm., Diameter: 17x17 mm.

Standing male figure holding kamandalu (water-pot) and danda (stick);

    wheel above six-armed symbol on left; three-arched hill with crescent

    on top right; countermark on top right depicting a bull with svastika and

    taurine.

Blank reverse.

Reference: Pieper 417 (plate coin) / see Kothari 267 for undertype

ujjain418

Ujjain region, c/m anonymous AE karshapana

Weight: 7.64 gm., Diameter: 21x21 mm.

Countermark (=standing human figure holding stick and kamandalu) on the

     blank reverse of an Ujjain region coin.

Worn traces of undertype: three-arched hill, Ujjain symbol, six-armed-

     symbol and river.

Reference: Pieper 418 (plate coin) / compare Kothari 325

ujjain421

Ujjain region, c/m anonymous AE 1/2 karshapana

Weight: 5.13 gm., Diameter: 16x15 mm.

Countermark (=standing human figure, his left akimbo, his right raised;

     Indradhvaja on left).

Faint traces of worn undertype of which Ujjain symbol and parts of a tree

     are visible.

Reference: Pieper 421 (plate coin) / see Kothari 286

                Such human figure countermarks (the 'Shiva-like' depiction of the previous coin as also the 'man + Indradhvaja' of this coin) occur on a number of different coin types from western and from eastern Malwa.

ujjain324

Ujjain, anonymous AE 1/12 karshapana, bull type

Weight: 0.68 gm., Diameter: 8 mm.

Obv.: Bull to right, taurine above, railed tree on right.

 Rev.: Double-orbed Ujjain symbol.

Reference:  Pieper 324 (plate specimen)

ujjain323

Ujjain, anonymous AE 1/6 karshapana, bull type

Weight: 1.49 gm., Diameter: 11mm mm.

Obv.: Bull to right, chakra above, railed tree on right, river below.

Rev.: Ujjain symbol with a shrivatsa in each orb.

Reference: Pieper 323 (plate specimen)

ujjain327

Ujjain, anonymous AE 1/8 karshapana, bull type

Weight: 1.14  gm., Diameter: 10x8 mm.

Obv.: Bull to right.

Rev.: Ujjain symbol.

Reference: Pieper 327 (plate specimen)

ujjain328

Ujjain, anonymous AE 1/8 karshapana, bull type

Weight: 0.95 gm., Diameter: 10x9 mm.

Obv.: Bull to right, Ujjain symbol and svastika above.

Rev.: Multiple Ujjain symbols, svastika in field.

Reference: Pieper 328 (plate specimen)

ujjain329

Ujjain, anonymous AE 1/12 karshapana, bull type

Weight: 0.75 gm., Diameter: 10x9 mm.

Obv.: Bull to right, svastika flanked by two taurines on top; taurine

         on right.

Rev.: Ujjain symbol with a taurine in each angle.

Reference: Pieper 329 (plate specimen)

ujjain330

Ujjain, anonymous AE 1/16 karshapana, bull type

Weight: 0.62 gm., Diameter: 8x8 mm.

Obv.: Bull to right, svastika, Indradhvaja and taurine on top.

Rev.: Double-orbed Ujjain symbol.

Reference: Pieper 330 (plate specimen)

ujjain331

Ujjain, anonymous AE 1/8 karshapana, bull type

Weight: 0.85 gm., Diameter: 11x10 mm.

Obv.: Bull to right, svastika, taurine and Indradhvahja on top.

Rev.: Ujjain symbol with a taurine in each angle.

Reference: Pieper 331 (plate specimen)

ujjain332

Ujjain, anonymous AE 1/ 12 karshapana, bull type

Weight: 0.72 gm., Diameter: 9x8 mm.

Obv.: Bull to right, Ujjain symbol, vertical line and vase on top.

Rev.: Double-orbed Ujjain symbol.

Reference: Pieper 332 (plate specimen)

ujjain334

Ujjain, anonymous AE 1/ 12 karshapana, bull type

Weight: 0.69 gm., Diameter: 9x8 mm.

Obv.: Bull to right with two taurines above;  dotted circle on top.

Rev.: Double-orbed Ujjain symbol with a taurine in each angle.

Reference: Pieper 334 (plate specimen)

ujjain336.jpg

Ujjain, anonymous AE 1/8 karshapana, bull type

Weight: 0.83 gm., Diameter: 12x10 mm.

Obv.: Bull to right with three-arched hill above and taurine on right;

         railed tree on right.

Rev.: Ujjain symbol enclosed in 'hollow cross' with a taurine in each

         angle of the cross.

Reference: Pieper 336 (plate specimen)

ujjain337.jpg

Ujjain, anonymous AE 1/6 karshapana, bull type

Weight: 1.47g, Diameter: 11x8mm

Obv.: Bull to right with long horns bent forwards; railed tree on right.

Rev.: Ujjain symbol.

Reference: Pieper 337 (plate specimen)

ujjain335.jpg

Ujjain, anonymous AE 1/6 karshapana, bull type

Weight: 1.62 gm., Diameter: 11x8 mm.

Obv.: Bull to right with six-armed symbol above and railed tree on right.

Rev.: Ujjain symbol.

Reference: Pieper 335 (plate specimen)

ujjain333.jpg

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

ujjain339.jpg

Ujjain, anonymous AE 1/ 16 karshapana, bull type

Weight: 0.52 gm., Diameter: 9x8 mm.

Obv.: Bull to left with Ujjain symbol above, railed tree on right.

Rev.: Ujjain symbol with thick dot inside each orb and a taurine in each

          angle.

Reference: Pieper 339 (plate specimen)

                This is one of the few types of Ujjain on which the bull is standing to the left.

ujjain bull

Ujjain, anonymous AE 3/8 karshapana, bull +tree type

Weight: 3.38 gm., Diameter: 15x15 mm.

Obv.: Bull to right facing railed tree on right; Indradhvaja and taurine

          above the bull.

Rev.: Ujjain symbol

Reference: Pieper collection (compare type 340)

ujjain340.jpg

Ujjain, anonymous AE 3/8 karshapana, bull + tree type

Weight: 3.52 gm., Diameter: 17x15 mm.

Obv.: Bull to right facing railed tree on right; Indradhvaja flanked by

         two taurines above the bull.

Rev.: Ujjain symbol with a dot in each orb.

Reference: Pieper 340 (plate specimen)

ujjain341.jpg

Ujjain, anonymous AE 1/2 karshapana, bull + tree type

Weight: 4.26 gm., Diameter: 17x15 mm.

Obv.: Bull to right facing a railed tree on right; Indradhvaja and taurine

          above the bull.

Rev.: Double-orbed Ujjain symbol.

Reference: Pieper 341 (plate specimen)

ujjain342.jpg

Ujjain, anonymous AE 1/2 karshapana, bull + tree type

Weight: 3.72 gm., Diameter: 17x15 mm.

Obv.: Bull to right facing a railed tree on right; Indradhvaja flanked by

          two taurines above the bull.

Rev.: Worn undertype of  Ujjain type 'vase-holding deity (Anapurna)

Reference: Pieper 342 (plate specimen)

ujjain343.jpg

Ujjain, anonymous AE 3/8 karshapanaa, bull + tree type

Weight: 3.32 gm., Diameter: 16x12 mm.

Obv.: Bull to right facing its head towards the viewer with taurine and

         svastika above and another svastika in front of the bull; railed tree

         on right; river at the bottom.

Reference: Pieper 343 (plate specimen)

ujjain344.jpg

Ujjain, anonymous AE 1/2 karshapana, bull + tree type

Weight: 4.98 gm., Diameter: 18x18 mm.

Obv.: Bull to right facing Indradhvaja above railing on right; river line

         with fishes above the bull.

Rev.: Ujjain symbol with a shrivatsa in each orb.

Reference: Pieper 344 (plate specimen)

                UJJAIN, elephant types

ujjain351.jpg

Ujjain, anonymous AE 1/12 karshapana, elephant type

Weight: 0.72 gm., Diameter: 8 mm.

Obv.: Elephant to right, shrivatsa above.

Rev.: Ujjain symbol with a small Ujjain symbol in each orb.

Reference: Pieper 351 (plate specimen)

ujjain353.jpg

Ujjain, anonymous AE 1/ 16 karshapana, elephant type

Weight: 0.51 gm., Diameter: 9x8 mm.

Obv.: Elephant to left with Ujjain symbol above.

Rev.: Double-orbed Ujjain symbol.

Reference: Pieper 353 (plate specimen)

ujjain354.jpg

Ujjain, anonymous AE 1/ 12 karshapana, elephant type

Weight: 0.67 gm., Diameter: 9x7 mm.

Obv.: Elephant to right with taurine above.

Rev.: Ujjain symbol with dot in each orb, shrivatsa in field.

Reference: Pieper 355 (plate specimen)

ujjain357.jpg

Ujjain, anonymous AE 1/ 12 karshapana, elephant type

Weight: 0.69 gm., Diameter: 9x8 mm.

Obv.: Elephant to right.

Rev.: Ujjain symbol.

Reference: Pieper 357 (plate specimen)

ujjain358.jpg

Ujjain, anonymous AE 1/ 12 karshapana, elephant type

Weight: 0.75 gm., Diameter: 10x9 mm.

Obv.: Elephant to right.

Rev.: Ujjain symbol with a dot in each orb.

Reference: Pieper 358 (plate specimen)

ujjain359.jpg

Ujjain, anonymous AE 1/6 karshapana, elephant type

Weight: 1.38 gm., Diameter: 10x10 mm.

Obv.: Elephant to right with raised trunk, Ujjain symbol and taurine

         above the elephant; svastika on right bottom.

Rev.: Ujjain symbol with a dot in each orb and alternating taurines and

         svastikas in the angles.

Reference: Pieper 359 (plate specimen)

ujjain360.jpg

Ujjain, anonymous AE 1/6 karshapana, elephant type

Weight: 1.45 gm., Diameter: 10x9 mm.

Obv.: Elephant to right with svastika, taurine and Indradhvaja above.

Rev.: Ujjain symbol.

Reference: Pieper 360 (plate specimen)

ujjain361.jpg

Ujjain, anonymous AE 1/4 karshapana, elephant type

Weight: 2,54 gm., Diameter: 15x14 mm.

Obv.: Elephant to right with taurine on left and Indradhvaja on right;

          river at the bottom; fish-tank and Ujjain symbol on top.

Rev.: Ujjain symbol.

Reference: Pieper 361 (plate specimen)

ujjain362.jpg

Ujjain, anonymous AE 3/8 karshapana, elephant type

Weight: 3.75 gm., Diameter: 16x14 mm.

Obv.: Elephant with raised trunk to right with chakra on top left;

         (railed) tree on right.

Rev.: Ujjain symbol with a taurine in each angle.

Reference: Pieper 362 (plate specimen)

                A most dynamic depiction of outstanding artistic merit illustrating the unrivalled strength and power of the elephant.

ujjain364.jpg

Ujjain, anonymous AE 1/2 karshapana, elephant type.

Weight: 4.65 gm., Diameter: 14x14 mm.

Obv.: Elephant to right with chakra and Ujjain symbol above; railed tree

         on right; river at the bottom.

Rev.: Ujjain symbol with shrivatsa in each orb.

Reference: Pieper 364 (plate specimen)

ujjain402

Ujjain, inscribed civic AE 1/2 karshapana, civic issue

Weight: 4.97 gm., Diameter: 14 mm.

Obv.: Elephant to right; Ujjain symbol above.

Rev.: Brahmi legend 'ujeniya'; above the legend, chakra on left and footprint on

         right; river at the bottom

Reference: Pieper 402 (plate specimen)

                A rare specimen of the civic type of the Ujjaini coinage with the name of the city inscribed in bold Brahmi letters. The type is one example among a number of other civic coins of the Narmada valley which are inscribed in the name of the respective city.

ujjain403

Ujjain, inscribed civic AE 3/8 karshapana, civic issue

Weight: 3.67 gm., Diameter: 13 mm.

As previous specimen with complete legend.

Reference: Pieper 403 (plate specimen)

                UJJAIN, lion types

ujjain367.jpg

Ujjain, anonymous AE 1/16 karshapana, lion type

Weight: 0.54 gm., Diameter: 8 mm.

Obv.: Lion satnding to right, Ujjain symbol on right.

 Rev.: Ujjain symbol.

Reference:  Pieper 367 (plate specimen)

ujjain368.jpg

Ujjain, anonymous AE 1/12 karshapana, lion type

Weight: 0.73 gm., Diameter: 9 mm.

Obv.: Lion to right, svastika above. (Tiger?)

 Rev.: Double-orbed Ujjain symbol.

Reference:  Pieper 368 (plate specimen)

ujjain370.jpg

Ujjain, anonymous AE 1/12 karshapana, lion type

Weight: 0.81 gm., Diameter: 9x8 mm.

Obv.: Lion standing to right, Ujjain symbol on right.

 Rev.: Dotted Ujjain symbol with a triskeles in each angle.

Reference:  Pieper 370 (plate specimen)

ujjain371.jpg

Ujjain, anonymous AE 1/8 karshapana, lion type

Weight: 0.89 gm., Diameter: 11x9 mm.

Obv.: Lion resting to right.

 Rev.: Ujjain symbol.

Reference:  Pieper 371 (plate specimen)

ujjain374.jpg

Ujjain, anonymous AE 3/8 karshapana, lion type

Weight: 3.54 gm., Diameter: 13 mm.

Obv. Lion standing to right, Ujjain symbol above, railed tree on right,

         river at the bottom. (Note: Not lion, but elephant?)

 Rev.: Double-orbed Ujjain symbol.

Reference:  Pieper 374 (plate specimen)

ujjain373.jpg

Ujjain, anonymous AE 1/2 karshapana, lion type

Weight: 4.93 gm., Diameter: 14 mm.

Obv.: Lion standing to left, Ujjain symbol above, railed tree on left,

          river at the bottom. (Elephant?)

 Rev.: Ujjain symbol.

Reference:  Pieper 373 (plate specimen)

                UJJAIN, other animal types

ujjain338 horse.jpg

Ujjain, anonymous AE 1/6 karshapana, horse type

Weight: 1.35 gm., Diameter: 9x9 mm.

Obv.: Horse to right, horizontally placed railed tree above, vase on right. (Note: Identify animal)

 Rev.: Ujjain symbol with svastika in each orb.

Reference:  Pieper 338 (plate specimen)

ujjain horse.jpg

Ujjain, anonymous AE 1/2 karshapana, horse type

Weight: 5.00gm., Diameter: 20x15 mm.

Obv.: Horse to right between railed tree on left and chakra on right;

         on top from left to right Ujjain symbol, Indradhvaja (and shrivatsa);

         river at the bottom.

 Rev.: Double-orbed Ujjain symbol.

Reference:  Pieper 347

ujjain348.jpg

Ujjain, anonymous AE 1 karshapana, horse type

Weight: 9.04 gm., Diameter: 20x15 mm.

Obv.: Horse to right, horizontally placed railed tree above the animal and

          Ujjain symbol below; river on the left and svastika between two

          taurines on the right.

 Rev.: Ujjain symbol with alternating svastikas and taurines in its corners.

Reference:  Pieper 348 (plate specimen)

ujjain375.jpg

Ujjain, anonymous AE 1/12 karshapana, tortoise type

Weight: 0.79 gm., Diameter: 9x7 mm.

Obv.: Tortoise in square frame/tank with a crescent at each angle.

 Rev.: Dotted Ujjain symbol, one additional taurine in field.

Reference:  Pieper 375 (plate specimen)

ujjain376.jpg

Ujjain, anonymous AE 1/8 karshapana, tortoise type

Weight: 0.94 gm., Diameter: 8x8 mm.

Obv.: Tortoise in square frame/ tank with a circle at each angle.

 Rev.: Ujjain symbol with additional taurine in field.

Reference:  Pieper 376 (plate specimen)

ujjain366.jpg

Ujjain, anonymous AE 1/8 karshapana, makara type

Weight: 1.17 gm., Diameter: 10x8 mm.

Obv.: Makara to right in form of an aquatic creature with fishtail and

          head of an elephant; Ujjain symbol at top.

 Rev.: Ujjain symbol with a dot in each angle.

Reference:  Pieper 366 (plate specimen)

                The makara is the vahana (mount) of Ganga, the goddess of the river Ganges, and of the sea-god Varuna. Its frontal part is that of a terrestrial animal, its hind part that of a sea-creature. The depiction of a creature with fish-tail and elephant's head, like on this coin, is frequently used in depictions of a makara.

ujjain379

Ujjain, anonymous AE 1/2 karshapana, multi-symbol type

Weight: 4.22 gm., Diameter: 18 mm.

Centrally placed Ujjain symbol; svastika and Indradhvaja on right and

    railed tree on left; fish-tank above the Ujjain symbol and parts of

    chakra on top right; river at the bottom.

Double-orbed Ujjain symbol

Reference: Pieper 379 (plate specimen)

ujjain380

Ujjain, anonymous AE 1/2 karshapana, multi-symbol type

Weight: 4.97 gm., Diameter: 16 mm.

As previous coin but the railing has nine compartments and the svastika

has been exchanged for a taurine symbol.

Reference: Pieper 380 (plate specimen)

ujjain381

Ujjain, anonymous AE 1/2 karshapana, multi-symbol type

Weight: 4.64 gm., Diameter: 13 mm.

Railed tree in center; on the left shrivatsa above svastika; on the right

    chakra above fish-tank.

Double-orbed Ujjain symbol.

Reference: Pieper 381 (plate specimen)

ujjain382

Ujjain, anonymous AE 1/8 karshapana, multi-symbol type

Weight: 1.32 gm., Diameter: 10x10 mm.

Obv.: Indradhvaja , three-arched hill, six-armed symbol, sun , svastika

 Rev.: Ujjain symbol with a dot inside each orb.

Reference: Pieper 382

ujjain383

Ujjain, anonymous AE 1/8 karshapana, multi-symbol type

Weight: 1.30 gm., Diameter: 11x11 mm.

Railed tree on right; Ujjain symbol above horizontally placed Indradhvaja

    on left; taurine below and svastika above the Ujjain symbol.

Ujjain symbol with a dot inside each orb.

Reference: Pieper 383 (plate specimen)

ujjain384

Ujjain, anonymous AE 3/4 karshapana, multi-symbol type

Weight: 5.98 gm., Diameter: 17x15 mm.

Six-armed symbol in center; svastika and taurine above a railed tree on

    the left; Ujjain symbol above Indradhvaja on the right; river at the

    bottom; above the six-armed symbol is a square tank with two fishes

    and two turtles.

Ujjain symbol with a svastika in each orb.

Reference: Pieper 384 (plate specimen)

ujjain389

Ujjain, anonymous AE 1/ 10 karshapana, tree type

Weight: 0.86 gm., Diameter: 10 mm.

Obv.: Railed tree with Ujjain symbol on right.

Rev.: Ujjain symbol.

Reference: Pieper 389 (plate specimen)

ujjain391

Ujjain, anonymous AE 1/ 10 karshapana, tree type

Weight: 0.82 gm., Diameter: 8x7 mm.,

Obv.: Railed tree.

Rev.: Ujjain symbol

Reference: Pieper 391 (plate specimen)

ujjain392

Ujjain, anonymous AE 1/ 10 karshapana, tree type

Weight: 0.82 gm., Diameter: 8x8 mm.

Obv:. Railed tree in square incuse.

Rev.: Ujjain symbol with a dot in each orb.

Reference: Pieper 392 (plate specimen)

ujjain394

Ujjain, anonymous AE 1/ 10 karshapana, tree type

Weight: 0.91 gm., Diameter: 10x10 mm.

Obv.: Railed tree with Indradhvaja on right.

Rev.: Ujjain symbol.

Reference: Pieper 394 (plate specimen)

ujjain393

Ujjain, anonymous AE 1/ 10 karshapana, tree type

Weight: 0.96 gm., Diameter: 10x7 mm.

Obv.: Tree in vase, dagger-like symbol on right.

Rev.: Ujjain symbol with thick dot in each orb and a dot in each angle.

Reference: Pieper 393 (plate specimen)

ujjain395

Ujjain, anonymous AE 1/ 8 karshapana, tree type

Weight: 1.11 gm., Diameter: 10x8 mm.

Obv.: Railed tree with large crescent above; svastika above taurine on r.

Rev.: Ujjain symbol

Reference: Pieper 395 (plate specimen)

ujjain396

Ujjain, anonymous AE 1/ 8 karshapana, tree type

Weight: 1.13 gm., Diameter: 9x8 mm.

Obv.: Railed tree with river on right; part of rectangular symbol on left;

          two taurines on top.

Rev.: Ujjain symbol.

Reference: Pieper 396 (plate specimen)

ujjain397

Ujjain, anonymous AE 1/ 8 karshapana, tree type

Weight: 1.23 gm., Diameter: 11x11 mm.

Obv.: Railed tree above river line.

Rev.: Ujjain symbol.

Reference: Pieper 397 (plate specimen)

ujjain398

Ujjain, anonymous AE 1/4 karshapana, tree type

Weight: 2.76 gm., Diameter: 12x11 mm.

Obv.: Railed tree in square incuse with taurine on left.

Rev.: Ujjain symbol with a thick dot in each orb.

Reference: Pieper 398 (plate specimen)

ujjain399

Ujjain, anonymous AE 1/4 karshapana, tree type

Weight: 1.90 gm., Diameter: 14x12 mm.

Obv.: Tree-on-hill.

Rev.: Four Ujjain symbols.

Reference: Pieper 399 (plate specimen)

ujjain388

Ujjain, anonymous AE 1/2 karshapana, tree type

Weight: 4.58 gm., Diameter: 14 mm.

Obv.: Railed tree.

Rev.: Double-orbed Ujjain symbol.

Reference: Pieper 388 (plate specimen)

ujjain400

Ujjain, anonymous AE 1/2 karshapana, tree type

Weight: 4.19 gm., Diameter: 15x14 mm.

Obv.: Tree-on-hill on right and six-armed symbol on left.

Rev.: Ujjain symbol with alternating taurines and svastikas in the orbs.

Reference: Pieper 400

ujjain401

Ujjain, anonymous lead 1/2 karshapana, tree type

Weight: 4.37 gm., Diameter: 16x16 mm.

Obv.: Railed tree on the right; on the left six-armed symbol above Indra-

     dhvaja; taurine left and svastika right of the Indradhvaja.

Rev.: Double-orbed Ujjain symbol with a taurine in each angle.

Reference: Pieper 401 (plate specimen)

ujjain409

Ujjain, inscribed AE 1/2 karshapana, 'tank between trees' type

Weight: 5.62 gm., Diameter: 14x14 mm.

Fishtank from which a water channel is branching flanked by two railed

     trees; Brahmi legend part below reading 'sidhatho(madana)'

Ujjain symbol

Reference: Pieper 409 (plate specimen)

                Until now the legend on this coin type had been read as 'rathimadana'. This is the first specimen to show at least the first three letters of the legend clear beyond doubt. Credit goes to Harry Falk to have read the legend as 'sidhato'. The second part of the name appears to have been correctly identified from the available specimens except for the last letter which still is somewhat doubtful but '...madana' is well possible. In that case the complete name would be 'Sidhathomadana'.

Source for the provenience, images and readings: http://coinindia.com/galleries-ujjain1.html

Pre-Seleucid Greek Coins with themes from Bharat

Bactria: pre-Seleucid
Alexander the Great ?
Silver Tetradrachm or Di-shekel, c. 328 BCE
Weight:10.85 gm., Diam:22-25 mm., Die axis:3h
Alexander ? standing right in Persian dress,
with Indian long-bow/ Elephant rightRef: MIG 22

Bactria: pre-Seleucid
Anonymous
Silver Diobol, 4th century BCE
Weight:0.98 gm., Diam:9 mm., Die axis:10h
Forepart of a boar facing right/
Bust of lion facing right A specimen of this enigmatic coin was found in the excavations at Ai-Khanoum in northern Afghanistan.
Source for the provenience, images and readings:http://coinindia.com/galleries-greek-preSeleucid.html

Brahmi-Kharoshthi-Greek legend Bactria --

Pantaleon, c. 185-180 BCE, Apollodotus I, Antimachus II (contemporary of Apollodotus I, c. 174-165 BCE)

Bactria: Agathocles, AE double karshapana, c. 185-170 BCE
Weight: 14.45 gm., Dim: 22 x 27 mm., Die axis: 12 h
Female deity moving left, holding flower
     Brahmi legend: Rajane Agathukleyasasa /
Lion standing right,
     Greek legend: BAΣIΛEΩΣ AΓAΘOKΛEOYΣ "This coin parallels the similar issue of Pantaleon, and so has a claim to being the first Greek coin aimed at an Indian audience (since we are not sure whose coins were issued earlier, Agathocles's or Pantaleon's. But we have an Indian style deity (thought by some to represent Lakshmi) holding a lotus blossom), a square flan (recall that Mauryan coins were typically square), a legend in Brahmi, and a weight-standard that seems to be associated with an Indian standard." 

Bactria: Agathocles, AE one and a half karshapana, c. 185-170 BCE
Weight: 11.10 gm., Dim: 20 x 20 mm., Die axis: 12 h
Female deity moving left, holding flower
     Brahmi legend: Rajane Agathukleyasasa /
Lion standing right,
     Greek legend: BAΣIΛEΩΣ AΓAΘOKΛEOYΣ The first Greek coin aimed at an Indian audience! We have an Indian style deity, a square flan (recall that Mauryan coins were typically.square), a legend in Brahmi, and a weight-standard that seems to be associated with an Indian standard.

Bactria: Agathocles, AE dichalkon, c. 185-170 BCE
Weight: 4.90 gm., Dim: 20 x 14 mm., Die axis: 12 h
Railed tree, Kharoshthi legend below: hiranasme (golden hermitage) /
Six-arched hill, Kharoshthi legend below: akathukreyasa
     Greek legend: BAΣIΛEΩΣ AΓAΘOKΛEOYΣ  "Agathocles issued this enigmatic coin, thought to have been minted in Taxila. The significance of this type is still not properly understood."""
http://coinindia.com/galleries-agathocles.html

Indo-Greek: Apollodotus I, Silver Attic weight hemidrachm, c. 174-165 BCE
Weight: 1.74 gm., Diam: 14 mm., Die axis: 12 h
Elephant walking right, Greek legend around:
     BAΣIΛEΩΣ AΠOΛΛOΔOTOY ΣΩTHPOΣ /
Humped bull walking right, Kharoshthi legend around:
     maharajasa apaladatasa tratarasa  "Apollodotus's initial issue south of the Hindu Kush was this round Attic weight hemidrachm, with a nominal weight of 2.12 gm. It must not have found acceptance with the local population, as he abandoned it soon after (judging by the scarcity of this type) and switched to a square format coin reflecting the shape of the Mauryan karshapanas and a new weight standard of about 2.45 gm.""

Indo-Greek: Apollodotus I, Silver "Indian" weight drachm, c. 174-165 BCE
Weight: 2.38 gm., Dim: 15 x 16 mm., Die axis: 12 h
Elephant walking right, Greek legend on three sides:
     BAΣIΛEΩΣ AΠOΛΛOΔOTOY ΣΩTHPOΣ
     monogram below /
Humped bull standing right, Kharoshthi legend on three sides:
     maharajasa apaladatasa tratarasa This was the "Indian style and standard" coin that replaced the previous one. These coins are relatively common.

Indo-Greek: Apollodotus I, AE double or hemi-obol, c. 174-165 BCE
Weight: 9.42 gm., Dim: 21 x 21 mm., Die axis: 12 h
Apollo standing facing, holding arrow in right hand and bow in left, monogram at left,
     Greek legend: BAΣIΛEΩΣ AΠOΛΛOΔOTOY ΣΩTHPOΣ /
Tripod within dotted border, monogram at left,      Kharoshthi legend on three sides: maharajasa apaladatasa tratarasaApollodotus also issued bronze coins on the Indian format. This type introduces the tripod on the reverse, a feature that was seen on many Indo-Greek coins right up to the end of the dynasty. 

Indo-Greek: Apollodotus I, AE double or hemi-obol, c. 174-165 BCE
Weight: 9.65 gm., Dim: 22 x 22 mm., Die axis: 12 h
Apollo standing facing, holding arrow in right hand and bow in left, no monogram at left,
     Greek legend: BAΣIΛEΩΣ AΠOΛΛOΔOTOY ΣΩTHPOΣ /
Tripod within dotted border, monogram at right,
     Kharoshthi legend on three sides: maharajasa apaladatasa tratarasa

Indo-Greek: Apollodotus I, AE single or di-chalkon, c. 174-165 BCE
Weight: 5.48 gm., Dim: 17 x 18 mm., Die axis: 12 h
Apollo standing facing, holding arrow in right hand and bow in left,
     Greek legend: BAΣIΛEΩΣ AΠOΛΛOΔOTOY ΣΩTHPOΣ /
Tripod within dotted border,
     Kharoshthi legend on three sides: maharajasa apaladatasa tratarasa

http://coinindia.com/galleries-apollodotus1.html

Indo-Greek: Antimachus II, Silver drachm, c. 174-165 BCE
Weight: 2.37 gm., Diam: 16 mm., Die axis: 12 h
Winged Nike standing left, holding wreath and palm, monogram left,
     Greek legend around: BAΣIΛEΩΣ NIKHΦOPOY ANTIMAXOY /
Horseman (king? note the diadem ends) galloping right,
     Kharoshthi legend around: Maharajasa jayadharasa Amtimakhasa 

Indo-Greek: Antimachus II, AE double or hemi-obol, c. 174-165 BCE
Weight: 8.92 gm., Dim: 20 x 21 mm., Die axis: 12 h
Aegis,
     Greek legend around: BAΣIΛEΩΣ NIKHΦOPOY ANTIMAXOY /
Wreath and palm,     Kharoshthi legend around: Maharajasa jayadharasa Amtimakhasa  
http://coinindia.com/galleries-antimachus2.html

Indo-Greek Menander I, Soter

Menander I, Silver drachm (Indian standard)
Weight: 1.05 gm. Diameter: 15 mm Die axis: 12h
Helmeted bust of Athena right, continuous Greek legend around: 
     BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY
Owl standing three-quarters right, monogram at right,
     Kharoshthi legend around: maharajasa tratarasa menamdrasaReference: MIG 213b, Bop 2C The vast bulk of Menander's coinage adheres to a so-called "Indian standard" of lighter weight coins. In this standard, the drachm weighed about 2.45 gm (the very low weight of this drachm is the result of the coin having sat in water for a very long time ... a phenomenon often seen on coins from the Mir Zakah hoard). The Indian standard coins are also bilingual, with a legend in Prakrit written on the back in Kharoshthi letters translating the Greek legend on the front of the coin.

Menander I, Silver drachm (Indian standard)
Weight: 2.43 gm. Diameter: 18 mm Die axis: 1h
Diademed, bare-headed bust of king left, seen from behind, holding spear in right hand,
     continuous Greek legend around: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY
Seen from in front, Athena Alkidemos standing right,
     holding aegis on outstretched left arm,
     hurling thunderbolt with right hand, monogram at right,
     Kharoshthi legend around: maharajasa tratarasa menamdrasa
Reference: MIG 220c, Bop 3B
Bopearachchi places this coin type early in Menander's reign, as it still has the Greek and Kharoshthi legends presented in a continuous fashion (as on the coins of Antimachus II), and bears only the monograms that it shares with the coins of Antimachus II.

Menander I, Silver drachm (Indian standard)

Weight: 2.44 gm. Diameter: 18 mm Die axis: 1h

Diademed, bare-headed bust of king left, seen from behind, holding spear in right hand,

     discontinuous Greek legend around: BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from in front, Athena Alkidemos standing right,

     holding aegis on outstretched left arm,

     hurling thunderbolt with right hand, monogram at right,

     discontinuous Kharoshthi legend around: maharajasa tratarasa / menamdrasa

Reference: MIG 221b, Bop 6A

                At some point relatively early in Menander's reign, the disposition of the legends was changed to a discontinuous format in which the first two words were placed in an arc at the top of the coin and the king's name was presented in an arc at the bottom. This coin was probably issued early in that series, as it retains the front-facing representation of Athena on the reverse of the coin.

Menander I, Silver drachm (Indian standard)

Weight: 2.45 gm. Diameter: 18 mm Die axis: 1h

Diademed, bare-headed bust of king left, seen from behind, holding spear in right hand,

     discontinuous Greek legend around: BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from behind, Athena Alkidemos standing left, holding sloping shield

     on outstretched left arm, hurling thunderbolt with right hand,

     monogram at right,

     discontinuous Kharoshthi legend around: maharajasa tratarasa / menamdrasa

Reference: MIG 224b, Bop 7E

                The next phase of the coinage altered the representation of Athena to one where she is seen from behind, holding a sloping shield instead of the aegis on her outstretched left arm.

Menander I, Silver tetradrachm (Indian standard)

Weight: 9.78 gm. Diameter: 24 mm Die axis: 12h

Diademed, bare-headed bust of king left, seen from behind, holding spear in right hand,

     discontinuous Greek legend around: BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from behind, Athena Alkidemos standing left, holding horizontal shield

     on outstretched left arm, hurling thunderbolt with right hand,

     monogram at right,

     discontinuous Kharoshthi legend around: maharajasa tratarasa / menamdrasa

Reference: MIG 219b, Bop 8A

                The final, and longest, phase of the coinage had the image of Athena seen from behind and holding a shield horizontally on her outstretched left arm. It appears the first tetradrachms were issued in this format, as none are known for the other formats. It was in this phase that various other obverse representations of the king were also introduced. The Attic weight coins, presented at the top of this table, must have been issued during this phase, as the representation of Athena on those coins matches this one.

Menander I, Silver drachm (Indian standard)

Weight: 2.31 gm. Diameter: 19 mm Die axis: 1h

Diademed, bare-headed bust of king left, seen from behind, holding spear in right hand,

     discontinuous Greek legend around: BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from behind, Athena Alkidemos standing left, holding horizontal shield

     on outstretched left arm, hurling thunderbolt with right hand,

     monogram at right,

     discontinuous Kharoshthi legend around: maharajasa tratarasa / menamdrasa

Reference: MIG 225f, Bop 9C

                In the final phase of the coinage, each silver type typically featured a tetradrachm and a drachm denomination.

Menander I, Silver drachm (Indian standard)

Weight: 2.37 gm. Diameter: 18 mm Die axis: 12h

Diademed, helmeted bust of king left, seen from behind, holding spear in right hand,

     discontinuous Greek legend around: BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from behind, Athena Alkidemos standing left, holding horizontal shield

     on outstretched left arm, hurling thunderbolt with right hand,

     monogram at right,

     discontinuous Kharoshthi legend around: maharajasa tratarasa / menamdrasa

Reference: MIG 226a, Bop 10B

                In this variant of the "spearthruster" type, the king is shown wearing a helmet. No tetradrachm is known for this type.

Menander I, Silver tetradrachm (Indian standard)

Weight: 9.79 gm. Diameter: 25 mm Die axis: 12h

Diademed, bare-headed bust of king right, discontinuous Greek legend around:

     BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from behind, Athena Alkidemos standing left, holding horizontal shield

     on outstretched left arm, hurling thunderbolt with right hand,

     monograms at left and right,

     discontinuous Kharoshthi legend around: maharajasa tratarasa / menamdrasa

Reference: MIG 214c, Bop 12A

                One variant representation of the king shows his bust facing right, wearing a diadem but no head-dress.

Menander I, Silver tetradrachm (Indian standard)

Weight: 9.84 gm. Diameter: 28 mm Die axis: 12h

Diademed, bare-headed bust of king right, discontinuous Greek legend around:

     BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from behind, Athena Alkidemos standing left, holding horizontal shield

     on outstretched left arm, hurling thunderbolt with right hand,

     monograms at left and right,

     discontinuous Kharoshthi legend around: maharajasa tratarasa / menamdrasa

Reference: MIG 214c, Bop 12A

Menander I, Silver drachm (Indian standard)

Weight: 2.47 gm. Diameter: 17 mm Die axis: 12h

Diademed, bare-headed bust of king right, discontinuous Greek legend around:

     BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from behind, Athena Alkidemos standing left, holding horizontal shield

     on outstretched left arm, hurling thunderbolt with right hand,

     monogram at right,

     discontinuous Kharoshthi legend around: maharajasa tratarasa / menamdrasa

Reference: MIG 215f, Bop 13O

                Note the tight die axes that Menender's celators were able to maintain ... almost all coins have a die axis of 12 o'clock, as do modern machine-made Indian coins.

Menander I, Silver tetradrachm (Indian standard)

Weight: 9.74 gm. Diameter: 26 mm Die axis: 12:30h

Diademed, helmeted bust of king right, discontinuous Greek legend around:

     BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from behind, Athena Alkidemos standing left, holding horizontal shield

     on outstretched left arm, hurling thunderbolt with right hand,

     monograms at left and right,

     discontinuous Kharoshthi legend around: maharajasa tratarasa / menamdrasa

Reference: MIG 217f, Bop 15B

                A final variant representation of the king shows his bust facing right, wearing a diadem and a helmet.

Menander I, Silver tetradrachm (Indian standard)

Weight: 9.60 gm. Diameter: 26 mm Die axis: 11h

Diademed, helmeted bust of king right, discontinuous Greek legend around:

     BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from behind, Athena Alkidemos standing left, holding horizontal shield

     on outstretched left arm, hurling thunderbolt with right hand,

     monograms at left and right,

     discontinuous Kharoshthi legend around: maharajasa tratarasa / menamdrasa

Reference: MIG 217f, Bop 15B

This coin has some corrosion, but an astonishing reverse with a beautiful portrait of Athena. The detail on the shield is amazing.

Menander I, Silver tetradrachm (Indian standard)

Weight: 2.46 gm. Diameter: 16 mm Die axis: 12h

Diademed, helmeted bust of king right, discontinuous Greek legend around:

     BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from behind, Athena Alkidemos standing left, holding horizontal shield

     on outstretched left arm, hurling thunderbolt with right hand,

     monograms at left and right,

     discontinuous Kharoshthi legend around: maharajasa tratarasa / menamdrasa

Reference: MIG 218c, Bop 16I

Bronze Coins (Indian Standard)

Menander I, Bronze Quadruple

Weight: 9.40 gm. Dimensions: 24 x 22 mm Die axis: 12h

Helmeted bust of Athena right, Greek legend on three sides:

     BAΣIΛEΩΣ / ΣΩTHPOΣ / MENANΔPOY

Round shield (Lotus?) with Gorgon head in center, monogram at left,

     Kharoshthi legend above and below: maharajasa tratarasa / menamdrasa

Reference: MIG 246d(3), Bop 17A

                All of Menander's wide array of bronze types is in the rectangular format apparently favored south of the Hindu Kush mountains. There seems to have been a period of experimentation initially as to the disposition of the legends. On this coin, the Greek legend on the obverse starts at the top, then goes to the left, and then to the bottom. The Kharoshthi legend is in two lines, top and bottom.

Menander I, Bronze Quadruple

Weight: 9.86 gm. Dimensions: 24 x 22 mm Die axis: 12h

Helmeted bust of Athena right, Greek legend on three sides:

     BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Round shield (Lotus?) with Gorgon head in center, monogram at left,

     Kharoshthi legend above and below: maharajasa tratarasa / menamdrasa

Reference: MIG 246c, Bop 18A

                On this coin, the Greek legend on the obverse starts at the left, continues to the top and then to the right. The Kharoshthi legend is in two lines, top and bottom, as on the previous coin.

Menander I, Bronze Quadruple

Weight: 5.92 gm. Dimensions: 22 x 22 mm Die axis: 12h

Helmeted bust of Athena right, Greek legend on three sides:

     BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Round shield with Gorgon head in center, monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 246d(1), Bop 19A

                On this coin, the Greek legend remains as on the previous coin, and the Kharoshthi legend also becomes continuous and placed on three sides, starting at the right.

Menander I, Bronze Quadruple

Weight: 6.91 gm. Dimensions: 21 x 21 mm Die axis: 12h

Helmeted bust of Athena right, Greek legend on three sides:

     BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Round shield with Gorgon head in center, monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 246d(1), Bop 19A

                A variety of the previous coin, not noted as yet, in which the monogram has been placed on its side (i.e. rotated 90 degrees). Another oddity is that the M of MENANΔPOY has been oriented with the word ΣΩTHPOΣ rather than with the rest of the king's name.

Menander I, Bronze Quadruple

Weight: 9.57 gm. Dimensions: 21 x 21 mm Die axis: 12h

Diademed, bare-headed bust of king left, seen from behind, holding spear in right hand,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ / MENANΔPOY

Seen from in front, Athena Alkidemos standing right,

     holding aegis on outstretched left arm,

     hurling thunderbolt with right hand, monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa / menamdrasa

Reference: MIG 237b, Bop 21A

Menander I, Bronze Double

Weight: 5.76 gm. Dimensions: 21 x 20 mm Die axis: 12h

Helmeted bust of Athena right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Seen from behind, Athena Alkidemos standing left, holding horizontal shield

     on outstretched left arm, hurling thunderbolt with right hand,

     monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 239b, Bop 23C

                This coin arranges the three-sided legend a little more pleasingly, as the legends are continuous without any word needing to be upside down.

Menander I, Bronze 16-tuple

Weight: 40.63 gm. Dimensions: 29 x 25 mm Die axis: 12h

Helmeted bust of Athena right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Horse prancing right, monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 231a, Bop 24A

                An amazing coin at 40.63 gm ... the largest coin issued by Menander.

Menander I, Bronze octuple

Weight: 15.17 gm. Dimensions: 23 x 24 mm Die axis: 12h

Helmeted bust of Athena right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Horse prancing right, monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG ---, Bop 39A

                Bopearachchi lists this as the last of Menander's coins, but it seems to follow from the previous coin, of which it seems to be the half denomination. No smaller denominations, such as quadruples or doubles, are known, so perhaps these coins were the higher denominations for other series.

Menander I, Bronze Quadruple

Weight: 11.41 gm. Dimensions: 24 x 24 mm Die axis: 12h

Elephant walking left,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Elephant goad,

     Δ at left, monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 236, Bop 26A

                This, and the next few coins, are most interesting because they carry some extra letters: Δ (Greek delta) on this one and B (Greek beta) and A (Greek alpha) on subsequent ones. Bopearachchi argues that these letters represent the denominations: A for a single unit, B for a double unit and Δ for a quadruple unit. The weights of the coins match this theory, and A, B and Δ are the first, second and fourth letters in the Greek alphabet. If the theory is true, it is a rare (the only?) instance of coins carrying stated denominations among all ancient Indian coins. (photo courtesy CNG)

Menander I, Bronze Quadruple

Weight: 8.21 gm. Dimensions: 17 x 17 mm Die axis: 12h

Elephant walking right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Elephant goad,

     Δ at left ?, monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG ---, Bop 38A

                A rare variation on the previous coin with the elephant walking to the right. Although no Δ is visible on this coin, it is possible there was one there that got rubbed out with over-zealous cleaning. Bopearachchi lists this coin later in his catalogue, but it seems to belong with the previous coin, with which it shares not only the themes but the monogram.

Menander I, Bronze Double

Weight: 5.55 gm. Dimensions: 20 x 20 mm Die axis: 12h

Helmeted bust of Athena right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Seen from behind, Nike standing left, holding wreath and palm

     B at right, monogram at left,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 238b, Bop 27B

                This very rare coin carries a B, possibly indicating its denomination as a double unit.

Menander I, Bronze Single unit

Weight: 1.97 gm. Dimensions: 14 x 14 mm Die axis: 12h

Elephant head three-quarters right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Club, monogram at left, A at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 240a, Bop 28E

                The single unit carries the letter A, in several different locations.

Menander I, Bronze Single unit

Weight: 2.57 gm. Dimensions: 15 x 15 mm Die axis: 12h

Elephant head three-quarters right, A below

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Club, monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG --- (240d for type), Bop --- (28J for type), Bop & Rahman 397

                A rare variety with the A on the obverse, unlisted in the usual catalogues.

Menander I, Bronze Single unit

Weight: 2.72 gm. Dimensions: 15 x 16 mm Die axis: 12h

Elephant head three-quarters right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Club, monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 240h, Bop 28D

                This variety omits the A.

Menander I, Bronze Octuple

Weight: 19.98 gm. Dimensions: 23 x 24 mm Die axis: 12h

Head of bull facing,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Tripod, monogram at left,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 233a, Bop 29A

Menander I, Bronze Octuple

Weight: 14.71 gm. Dimensions: 26 x 25 mm Die axis: 12h

Helmeted bust of Athena right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Winged Nike standing right, holding wreath and palm,

     Kharoshthi legend on three sides: maharajasa tratarasa / menamdrasa

Reference: MIG 242a, Bop 31B

Menander I, Bronze Quadruple

Weight: 9.61 gm. Dimensions: 22 x 23 mm Die axis: 12h

Helmeted bust of Athena right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Winged Nike standing right, holding wreath and palm,

     Kharoshthi legend on three sides: maharajasa tratarasa / menamdrasa

Reference: MIG 243c, Bop 32G

Menander I, Bronze Quadruple

Weight: 8.38 gm. Dimensions: 22 x 22 mm Die axis: 12h

Head of Hercules right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Lion skin, monogram at right, Γ at left,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG --- (248 for type), Bop --- (35 for type), CNG e250 lot 192

                A previously unpublished type that appeared in a recent CNG auction. There is one known coin with these designs of head of Hercules and lion-skin, but that coin carries only the monogram on the reverse. This coin also carries the Greek letter Γ (gamma, the third letter in the Greek alphabet). In light of the coins with letters A, B and Δ representing denominations, one wonders if this coin is meant to be triple unit (hence the use of the third letter). (photo courtesy CNG)

Menander I, Bronze Quadruple

Weight: 6.92 gm. Dimensions: 23 x 22 mm Die axis: 12h

Head of Hercules right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Lion skin, monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 248, Bop 35

                The previous coin had been written up and included on this page before I was fortunate enough to acquire this coin, apparently the second known specimen of the type, and much nicer than the example listed by Mitchiner and Bopearachchi.

Menander I, Bronze Quadruple

Weight: 10.18 gm. Dimensions: 20 x 20 mm Die axis: 12h

Head of boar right,

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Palm branch, monogram at left,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 249a, Bop 36A

Menander I, Bronze Half unit

Weight: 1.57 gm. Dimensions: 12 x 12 mm Die axis: 12h

Eight-spoke wheel (dharmachakra),

     Greek legend on three sides: BAΣIΛEΩΣ ΣΩTHPOΣ MENANΔPOY

Palm branch, monogram at right,

     Kharoshthi legend on three sides: maharajasa tratarasa menamdrasa

Reference: MIG 241a, Bop 37A

                Only one specimen of this coin is known; it resides in the British Museum. This type is the only coin of Menander that has an explicit Buddhist theme. Its extreme rarity is why I feel Menander never actually adopted Buddhism ... the coins are the only specific, tangible evidence we have of his reign and they do not exhibit (except for this unique coin) any Buddhist influence. (photo courtesy Wikipedia)

               

                Sealing

Menander I ?, Clay sealing

Weight: 2.02 gm. Diameter: 20 mm Die axis: na

Diademed head of king right

Blank

                A clay sealing with a king's head ... nothing to prove whose this is, but there is a superficial resemblance to the portraits of Menander, so it may well be his.

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

Indo-Greek Zoilus I (c. 130-120BCE)

Zoilus I, Silver tetradrachm
Weight: 9.80 gm. Diameter: 25 mm Die axis: 12h
Diademed, bare-headed bust of king right, Greek legend around: 
     BAΣIΛEΩΣ ΔIKAIOY / ΖΩIΛOY
     (Basileos Dikaiou Zoilou ... of King Zoilus, the just)
Nude Hercules standing facing, holding wreath in right hand,
     club and lion skin in left, monogram at left,
     Kharoshthi legend around: maharajasa dhramikasa / jhoilasa
Reference: MIG 255a, Bop 2A  An interesting epigraphic detail on Zoilus's coins is how the celator has depicted the letter Z, a sound foreign to Indian languages and therefore for which Kharoshthi had no representation. Here, the sound is depicted by the letter jha. (photo, courtesy CNG)

Zoilus I, Silver drachm
Weight: 2.17 gm. Diameter: 16 mm Die axis: 12h
Diademed, bare-headed bust of king right, Greek legend around: 
     BAΣIΛEΩΣ ΔIKAIOY / ΖΩIΛOY
Nude Hercules standing facing, holding wreath in right hand,
     club and lion skin in left, monogram at left,
     Kharoshthi legend around: maharajasa dhramikasa / jhoilasaReference: MIG 256b, Bop 3B

Zoilus I, Silver drachm
Weight: 2.40 gm. Diameter: 17 mm Die axis: 12h
Diademed, bare-headed bust of king right, Greek legend around: 
     BAΣIΛEΩΣ ΔIKAIOY / ΖΩIΛOY
Nude Hercules standing facing, holding wreath in right hand,
     club and lion skin in left, monogram at left,
     Winged Nike standing on Hercules's left shoulder,
     Kharoshthi legend around: maharajasa dhramikasa / jhoilasa
Reference: MIG 257b, Bop 4A

Zoilus I, Bronze Quadruple
Weight: 8.96 gm. Dimensions: 23 x 23 mm Die axis: 12h
Head of Hercules right, wearing lion head-dress,
     Greek legend on three sides: BAΣIΛEΩΣ ΔIKAIOY / ΖΩIΛOY
Within a circular wreath ?, club and bow in its bowcase, monogram at right,
     Kharoshthi legend on three sides: maharajasa dhramikasa / jhoilasa
Reference: MIG 258a, Bop 6A
http://coinindia.com/galleries-zoilus1.html

Indo-Greeks: Agathocleia (Agathokleia)

Queen Regent to Strato I (c. 135-125 BCE)

Agathocleia and Strato, Silver tetradrachm
Weight: 9.67 gm. Diameter: 26 mm Die axis: 12h
Jugate diademed busts of king and queen right, Greek legend around: 
     BAΣIΛEΩΣ ΣΩTHPOΣ ΣTPATΩNOΣ / KAI AΓAΘOKΛEIAΣ
     (Basileos Soteros Stratanou kai Agathokleias ... of King Strato, the savior, and Agathocleia)
Seen from behind, Athena Alkidemos standing left, holding shield
     on outstretched left arm, hurling thunderbolt with right hand,
     monogram at left,
     Kharoshthi legend around: maharajasa tratarasa stratasa / agathukreyaeReference: MIG 305a, Bop 5A

Agathocleia and Strato, Silver tetradrachm
Weight: 9.94 gm. Diameter: 27 mm Die axis: 12h
Jugate diademed busts of king and queen right, Greek legend around: 
     BAΣIΛEΩΣ ΣΩTHPOΣ ΣTPATΩNOΣ / KAI AΓAΘOKΛEIAΣ
     (Basileos Soteros Stratanou kai Agathokleias ... of King Strato, the savior, and Agathocleia)
Seen from behind, Athena Alkidemos standing left, holding shield
     on outstretched left arm, hurling thunderbolt with right hand,
     monogram at left,
     Kharoshthi legend around: maharajasa tratarasa dhramikasa / stratasa
Reference: MIG 306a, Bop 6A  On this coin, the word dhramikasa (the just) has been added to the titles on the reverse but ΔIKAIOY has not been added to the Greek legend on the obverse. Further, Agathokleia's name has been dropped from the reverse legend.

Agathocleia, Silver drachm
Weight: 2.20 gm. Diameter: 17 mm Die axis: 12h
Diademed bust of queen right, Greek legend around: 
     BAΣIΛIΣΣHΣ ΘEOTPOΠOY / AΓAΘOKΛEIAΣ
     (Basilisses Theotropou Agathokleias ... of god-like Queen Agathocleia)
Diademed king walking right, holding bow, arrow and spear,
     monogram at right,
     Kharoshthi legend around: maharajasa tratarasa dhramikasa / stratasa
     of King Strato, the savior, the just
Reference: MIG 303a, Bop 2A

Agathocleia, Bronze Quadruple
Weight: 9.04 gm. Dimensions: 22 x 19 mm Die axis: 12h
Helmeted bust of Athena right, Greek legend on three sides: 
     BAΣIΛIΣΣHΣ / ΘEOTPOΠOY / AΓAΘOKΛEIAΣ
Nude Herakles seated left on a pile of rocks,
     holding club in right hand which he rests on another pile of rocks,
     Kharoshthi legend on three sides: maharajasa / tratarasa dhra / mikasa stratasa
Reference: MIG 307a, Bop 3A
http://coinindia.com/galleries-agathocleia.html

Indo-Greeks: Strato I (c. 125-110 BCE)

Strato I, Silver drachm
Weight: 2.41 gm. Diameter: 17 mm Die axis: 12h
Diademed bust of young king right, Greek legend around: 
     BAΣIΛEΩΣ ΣΩTHPOΣ / ΣTPATΩNOΣ
     (Basileos Soteros Stratanos ... of King Strato, the savior)
Seen from behind, Athena Alkidemos standing left, holding shield
     on outstretched left arm, hurling thunderbolt with right hand,
     monogram at right,
     Kharoshthi legend around: maharajasa tratarasa / stratasa
Reference: MIG 308b, Bop 1B

Strato I, Bronze Quadruple
Weight: 8.63 gm. Dimensions: 20 x 18 mm Die axis: 12h
Bust of Herakles right, club on shoulder, Greek legend on three sides: 
     BAΣIΛEΩΣ / ΣΩTHPOΣ / ΣTPATΩNOΣ
Winged Nike standing right, holding palm and wreath, monogram right,
     Kharoshthi legend on three sides: maharajasa / tratarasa / stratasaReference: MIG 333a, Bop 29C

Strato I, Bronze Quadruple
Weight: 7.67 gm. Dimensions: 20 x 18 mm Die axis: 12h
Bust of Herakles right, club on shoulder, Greek legend on three sides: 
     BAΣIΛEΩΣ / ΣΩTHPOΣ / ΣTPATΩNOΣ
Winged Nike standing right, holding palm and wreath, monogram right,
     Kharoshthi legend on three sides: maharajasa / tratarasa / stratasa
Reference: MIG ---, Bop --- (unlisted monogram)

Strato I, Silver drachm
Weight: 2.12 gm. Diameter: 18 mm Die axis: 12h
Diademed bust of young king right, Greek legend around: 
     BAΣIΛEΩΣ ΣΩTHPOΣ / ΣTPATΩNOΣ
Athena Alkidemos standing facing, holding shield
     on outstretched left arm, hurling thunderbolt with right hand,
     monogram at left,
     Kharoshthi legend around: maharajasa tratarasa dhramikasa / stratasa
Reference: MIG 312, Bop 5A  This type makes two innovations: Athena is shown facing, an experiment that was immediately discontinued in favor of the traditional pose seen from behind, and the word dhramikasa (the just) is added to the Kharoshthi legend. Thus this is a rare instance where the titles on obverse and reverse do not match.

Strato I, Silver tetradrachm
Weight: 10.06 gm. Diameter: 26 mm Die axis: 12h
Diademed and helmeted bust of young king right, Greek legend around: 
     BAΣIΛEΩΣ ΣΩTHPOΣ KAI ΔIKAIOY; / ΣTPATΩNOΣ
     (Basileos Soteros kai Dikaiou Stratanos ... of King Strato, the savior and the just)
Seen from behind, Athena Alkidemos standing left, holding shield
     on outstretched left arm, hurling thunderbolt with right hand,
     monogram at left,
     Kharoshthi legend around: maharajasa tratarasa dhramikasa / stratasa
Reference: MIG --- (see 317 for type), Bop 23C

Strato I, Silver tetradrachm
Weight: 9.40 gm. Diameter: 26 mm Die axis: 12h
Diademed and helmeted bust of king left, seen from behind,
     holding spear, Greek legend around: 
     BAΣIΛEΩΣ ΣΩTHPOΣ ΔIKAIOY; / ΣTPATΩNOΣ
Seen from behind, Athena Alkidemos standing left, holding shield
     on outstretched left arm, hurling thunderbolt with right hand,
     monogram at left,
     Kharoshthi legend around: maharajasa tratarasa dhramikasa / stratasa
Reference: MIG 327A, Bop 16A

Strato I, Bronze Quadruple
Weight: 8.71 gm. Dimensions: 23 x 19 mm Die axis: 12h
Bust of Herakles right, club on shoulder, Greek legend on three sides: 
     BAΣIΛEΩΣ ΣΩT / HPOΣ ΔIKAIOY / ΣTPATΩNOΣ
Winged Nike standing right, holding palm and wreath, monogram right,
     Kharoshthi legend on three sides: maharajasa / tratarasa dhrami / kasa stratasa
Reference: MIG 334a, Bop 30A This bronze adds the "the just" title to the earlier type.

Strato I, Silver tetradrachm
Weight: 9.67 gm. Diameter: 28 mm Die axis: 12h
Diademed, bearded bust of king right, Greek legend around: 
     BAΣIΛEΩΣ ΣΩTHPOΣ ΔIKAIOY; / ΣTPATΩNOΣ
Seen from behind, Athena Alkidemos standing right, holding shield
     on outstretched left arm, hurling thunderbolt with right hand,
     monogram at left,
     Kharoshthi legend around: maharajasa tratarasa dhramikasa / stratasaReference: MIG --- (unlisted), Bop 11A 

Strato I, Silver tetradrachm
Weight: 9.84 gm. Diameter: 26 mm Die axis: 12:30h
Diademed, bearded bust of king right, Greek legend around: 
     BAΣIΛEΩΣ ΣΩTHPOΣ ΔIKAIOY; / ΣTPATΩNOΣ
Seen from behind, Athena Alkidemos standing left, holding shield
     on outstretched left arm, hurling thunderbolt with right hand,
     monogram at left,
     Kharoshthi legend around: maharajasa tratarasa / stratasa
Reference: MIG 328 (unlisted monogram), Bop 8A  Another coin with the bearded portrait (in fact the same die as the previous coin). Athena is back to facing left on the reverse, but a curious anomaly is that it drops the title "the just" (dhramikasa) from the reverse Kharoshthi legend, even though ΔIKAIOY is still present on the obverse.

Strato I, Silver tetradrachm
Weight: 9.46 gm. Diameter: 26 mm Die axis: 12h
Diademed bust of king right, Greek legend around: 
     BAΣIΛEΩΣ EΠIΦANOYΣ ΣΩTHPOΣ / ΣTPATΩNOΣ
Seen from behind, Athena Alkidemos standing left, holding shield
     on outstretched left arm, hurling thunderbolt with right hand,
     monogram at left,
     Kharoshthi legend around: maharajasa pracachasa tratarasa / stratasa
Reference: MIG 330a, Bop 26A

Strato I, Silver drachm
Weight: 2.18 gm. Diameter: 18 mm Die axis: 12h
Diademed bust of king right, Greek legend around: 
     BAΣIΛEΩΣ EΠIΦANOYΣ ΣΩTHPOΣ / ΣTPATΩNOΣ
Seen from behind, Athena Alkidemos standing left, holding shield
     on outstretched left arm, hurling thunderbolt with right hand,
     monogram at left,
     Kharoshthi legend around: maharajasa pracachasa tratarasa / stratasa
Reference: MIG 331a, Bop 27A

Strato I, Silver tetradrachm
Weight: 9.51 gm. Diameter: 27 mm Die axis: 12:30h
Diademed, helmeted bust of king right, Greek legend around: 
     BAΣIΛEΩΣ EΠIΦANOYΣ ΣΩTHPOΣ / ΣTPATΩNOΣ
Seen from behind, Athena Alkidemos standing left, holding shield
     on outstretched left arm, hurling thunderbolt with right hand,
     monogram at left,
     Kharoshthi legend around: maharajasa pracachasa tratarasa / stratasa
Reference: MIG 332a, Bop 28A

Strato I, Bronze Quadruple
Weight: 10.46 gm. Dimensions: 22 x 22 mm Die axis: 12h
Apollo standing facing, holding bow and arrow, Greek legend on three sides: 
     BAΣIΛEΩΣ EΠI / ΦANOYΣ ΣΩTH / POΣ ΣTPATΩNOΣ
Within dotted border, tripod, monogram at right, 
     Kharoshthi legend on three sides: maharajasa / pracachasa trata / rasa stratasa
Reference: MIG 336a, Bop 31 type

Strato I, Bronze Quadruple
Weight: 9.62 gm. Diameter: 24 mm Die axis: 12h
Bust of Apollo right, Greek legend around: 
     BAΣIΛEΩΣ EΠI ΦANOYΣ ΣΩTHPOΣ / ΣTPATΩNOΣ
Bow and quiver with strap, 
     Kharoshthi legend around: maharajasa pracachasa tratarasa / stratasa
Reference: MIG 335b, Bop 32B
http://coinindia.com/galleries-strato1.html

Indo-Greeks: Lysias (c. 120-110 BCE)

According to Bopearachchi, Lysias was the king to follow Zoilus I in the Paropamisadae, an area in what is now eastern Afghanistan in the area of Kabul and Kapisa.

Lysias, Silver drachm
Weight: 2.44 gm. Diameter: 16 mm Die axis: 12h
Diademed bust of king right, Greek legend around: 
     BAΣIΛEΩΣ ANIKHTOY / ΛYΣIOY
     (Basileos Aniketou Lysiou ... of King Strato, the unconquered)
Nude Hercules standing facing, holding palm, club and lionskin in left arm,
     crowning himself with his right hand, monograms at left and right,
     Kharoshthi legend around: maharajasa apadihatasa / lisikasaReference: MIG 261a, Bop 3A

Lysias, Silver drachm
Weight: 1.68 gm. Diameter: 16 mm Die axis: 12h
Diademed bust of king right, wearing elephant-scalp head-dress, Greek legend around: 
     BAΣIΛEΩΣ ANIKHTOY / ΛYΣIOY
Nude Hercules standing facing, holding palm, club and lionskin in left arm,
     crowning himself with his right hand, monograms at left and right,
     Kharoshthi legend around: maharajasa apadihatasa / lisiasaReference: MIG 262c, Bop 4C

Lysias, Silver drachm
Weight: 2.39 gm. Diameter: 17 mm Die axis: 12h
Diademed bust of king right, wearing kausia, Greek legend around: 
     BAΣIΛEΩΣ ANIKHTOY / ΛYΣIOY
Nude Hercules standing facing, holding palm, club and lionskin in left arm,
     crowning himself with his right hand, monograms at left and right,
     Kharoshthi legend around: maharajasa apadihatasa / lisikasa
Reference: MIG 263a, Bop 7A  The kausia was a Macedonian hat, first worn on coins by Antimachus I. It is thought that this hat was the ancestor of the pakol, the traditional hat worn by men in Afghanistan today. The Lysias drachms with kausia are quite scarce.(photo, courtesy, CNG)

Lysias, Silver drachm
Weight: 2.45 gm. Diameter: 17 mm Die axis: 1h
Diademed bust of king right, wearing crested helmet, Greek legend around: 
     BAΣIΛEΩΣ ANIKHTOY / ΛYΣIOY
Nude Hercules standing facing, holding palm, club and lionskin in left arm,
     crowning himself with his right hand, monograms at left and right,
     Kharoshthi legend around: maharajasa apadihatasa / lisiasaReference: MIG 264b, Bop 6B

Lysias, Silver drachm
Weight: 2.39 gm. Diameter: 17 mm Die axis: 12h
Helmeted bust of king left, seen from behind, holding spear in right hand,
     Greek legend around:: BAΣIΛEΩΣ ANIKHTOY / ΛYΣIOY
Nude Hercules standing facing, holding palm, club and lionskin in left arm,
     crowning himself with his right hand, monograms at left and right,
     Kharoshthi legend around: maharajasa apadihatasa / lisikasa
Reference: MIG 265a, Bop 5A

Lysias, Bronze Quadruple
Weight: 8.90 gm. Dimensions: 18 x 17 mm Die axis: 12h
Bust of Herakles right, club on shoulder, Greek legend on three sides: 
     BAΣIΛEΩΣ / ANIKHTOY / ΛYΣIOY
Elephant walking right, monograms below,
     Kharoshthi legend on three sides: maharajasa / apadihatasa / lisikasa
Reference: MIG 266e, Bop 8A

Lysias, Bronze Quadruple
Weight: 5.33 gm. Diameter: 24 mm Die axis: 12h
Bust of Herakles right, club and palm on shoulder, Greek legend around: 
     BAΣIΛEΩΣ ANIKHTOY / ΛYΣIOY
Elephant walking right, monogram below,
     Kharoshthi legend around: maharajasa apadihatasa / lisiasa
Reference: MIG 267a, Bop 9B
http://coinindia.com/galleries-lysias.html

Indo-Greeks: Antialcidas (c. 115-95 BCE)

Antialcidas (also spelled Antialkidas) was one of the few Indo-Greek kings for whom we have evidence other than his coins. A few miles from the ancient city of Sanchi, there is a stone pillar (known as the Heliodorus pillar) that mentions him as the Greek king who sent his ambassador Heliodorus to the court of the king Bhagabhadra. At the time, the Sungas ruled in the area, so Bhagabhadra must have been a Sunga king. The purpose of the embassy is not specified. In all likelihood, Antialcidas followed Lysias in the area of Kabul and Kapisa. The two kings share all the same monograms, and there exist two mule coins that consist of the obverse of one king and the reverse of the other. The common monograms and the mules show that the two kings used the same mints, either contemporaneously or, more probably, in immediate sequence.

Antialcidas, Silver (Attic weight) tetradrachm
Weight: 16.73 gm. Diameter: n.a. Die axis: 11h
Diademed, helmeted bust of king right, bead and reel border around
Zeus enthroned three-quarters left, holding sceptre in left hand,
     Winged Nike holding wreath in right hand, forepart of elephant at left
     monogram at right, Greek legend around: 
     BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
     Basileos Nikepherou Antialkidou ... (of King Antialcidas, the Victorious)
Reference: MIG 270a, Bop 2A

Antialcidas, Silver drachm
Weight: 2.18 gm. Diameter: n.a. Die axis: 11h
Diademed, helmeted bust of king right, bead and reel border around
Zeus enthroned three-quarters left, holding sceptre in left hand,
     Winged Nike holding wreath in right hand, forepart of elephant at left
     monogram at right, Greek legend around: 
     BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOYReference: MIG 270a, Bop 2A
Bilingual (Indian standard) issues

Antialcidas, Silver tetradrachm
Weight: 9.79 gm. Diameter: 25 mm Die axis: 12h
Diademed, bare-headed bust of king right, Greek legend around: 
     BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
Zeus standing three-quarters left, holding sceptre in left hand,
     behind Zeus, Elephant walking left with trunk raised,
     standing on elephant's head, Winged Nike holding wreath in right hand,
     monogram at left, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa
Reference: MIG 273a, Bop 6A

Antialcidas, Silver tetradrachm
Weight: 9.59 gm. Diameter: 26 mm Die axis: 12h
Diademed, helmeted bust of king right, Greek legend around: 
     BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
Zeus standing three-quarters left, holding sceptre in left hand,
     behind Zeus, Elephant walking left with trunk raised,
     standing on elephant's head, Winged Nike holding wreath in right hand,
     monogram at left, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa
Reference: MIG ---, Bop 7E

Antialcidas, Silver tetradrachm
Weight: 9.62 gm. Diameter: 27 mm Die axis: 1h
Seen from behind, diademed bust of king left, holding spear in right hand
     Greek legend around: BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
Zeus standing three-quarters left, holding sceptre in left hand,
     behind Zeus, Elephant walking left with trunk raised,
     standing on elephant's head, Winged Nike holding wreath in right hand,
     monogram at left, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa
Reference: MIG 274a, Bop 8A

Antialcidas, Silver tetradrachm
Weight: 9.13 gm. Diameter: 24 mm Die axis: 1h
Seen from behind, diademed bust of king left, holding spear in right hand
     Greek legend around: BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
Zeus standing three-quarters left, holding sceptre in left hand,
     behind Zeus, Elephant walking left with trunk raised,
     standing on elephant's head, Winged Nike holding wreath in right hand,
     monogram at left, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa
Reference: MIG 274a, Bop 8A

Antialcidas, Silver drachm Weight: 2.40 gm. Diameter: 17 mm Die axis: 11h Diademed bust of king right, Greek legend around:      BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY Zeus enthroned three-quarters left, holding sceptre in left hand,      Winged Nike holding wreath in right hand, forepart of elephant at left      monogram at right, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa Reference: MIG 275b, Bop 9A

Antialcidas, Silver drachm
Weight: 2.40 gm. Diameter: na Die axis: 11h
Diademed bust of king right, Greek legend around: 
     BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
Zeus enthroned three-quarters left, holding sceptre in left hand,
     wreath and palm in right hand, forepart of elephant at left,
     monogram at right, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa
Reference: MIG 276 type, Bop 10A

Antialcidas, Silver drachm
Weight: 1.76 gm. Diameter: 16 mm Die axis: 11h
Diademed bust of king right, Greek legend around: 
     BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
Zeus enthroned three-quarters left, holding sceptre in left hand,
     wreath and palm in right hand, whole elephant at left,
     monogram at right, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa
Reference: MIG 276 type, Bop 11A
Antialcidas, Silver drachm
Weight: 2.44 gm. Diameter: 16 mm Die axis: 12h
Diademed, helmeted bust of king right, Greek legend around: 
     BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
Zeus enthroned three-quarters left, holding sceptre in left hand,
     Winged Nike holding wreath in right hand, forepart of elephant at left
     monogram at right, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa
Reference: MIG 279a, Bop 12A

Antialcidas, Silver drachm
Weight: 2.49 gm. Diameter: 17 mm Die axis: 12h
Diademed, helmeted bust of king right, Greek legend around: 
     BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
Zeus enthroned three-quarters left, holding sceptre in left hand,
     Winged Nike holding wreath in right hand, forepart of elephant at left
     monogram at right, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa
Reference: MIG 279a, Bop 12A


Antialcidas, Silver drachm
Weight: 2.43 gm. Diameter: 17 mm Die axis: 12h
Diademed bust of king right, wearing kausia, Greek legend around: 
     BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
Zeus enthroned three-quarters left, holding sceptre in left hand,
     Winged Nike holding wreath in right hand, forepart of elephant at left
     monogram at right, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa
Reference: MIG 277a, Bop 13A

Antialcidas, Bronze Quadruple
Weight: 8.41 gm. Diameter: 26 mm Die axis: 12h
Bust of Zeus right, holding thunderbolt in right hand, Greek legend around: 
     BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
Caps and palms of the Dioscuri (sons of Zeus),
     monogram at left, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa
Reference: MIG 281a, Bop 14A

Antialcidas, Bronze Double
Weight: 4.00 gm. Diameter: 22 mm Die axis: 12h
Bust of Zeus right, holding thunderbolt in right hand, Greek legend around: 
     BAΣIΛEΩΣ NIKHΦOPOY / ANTIAΛKIΔOY
Caps and palms of the Dioscuri (sons of Zeus),
     monogram at left, Kharoshthi legend around: maharajasa jayadharasa / amtialikidasa
Reference: MIG 282a, Bop 15A

Antialcidas, Bronze Quadruple
Weight: 7.65 gm. Dimensions: 18 x 17 mm Die axis: 12h
Bust of Zeus right, holding thunderbolt in right hand, Greek legend on three sides: 
     BAΣIΛEΩΣ / NIKHΦOPOY / ANTIAΛKIΔOY
Caps and palms of the Dioscuri, monogram at left, 
     Kharoshthi legend on three sides: maharajasa / jayadharasa / amtialikidasa
Reference: MIG 280b, Bop 16B

Antialcidas, Bronze Quadruple
Weight: 9.36 gm. Dimensions: na Die axis: na
Bust of Zeus right, thunderbolt over left shoulder, Greek legend on three sides: 
     BAΣIΛEΩΣ / NIKHΦOPOY / ANTIAΛKIΔOY
Caps and palms of the Dioscuri, monogram at left, 
     Kharoshthi legend on three sides: maharajasa / jayadharasa / amtialikidasaReference: MIG 280c, Bop 17C On this variety, the thunderbolt is perched on Zeus's left shoulder, rather than being held in his right hand. (photo, courtesy CNG)

Antialcidas, Bronze Quadruple
Weight: 8.19 gm. Dimensions: 17 x 20 mm Die axis: 12h
Diademed bust of king right, Greek legend on three sides: 
     BAΣIΛEΩΣ / NIKHΦOPOY / ANTIAΛKIΔOY
Elephant with raised trunk right, monogram at right, 
     Kharoshthi legend on three sides: maharajasa / jayadharasa / amtialikidasa
Reference: MIG 283a, Bop 18A

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

Indo-Greeks: Heliocles II (c. 110-100 BCE)

Heliocles II, Silver tetradrachm
Weight: 9.75 gm. Diameter: 25 mm Die axis: 12h
Diademed, helmeted bust of king left, seen from behind, holding spear in right hand, 
     Greek legend around: BAΣIΛEΩΣ ΔIKAIOY / HΛIOKΛEOYΣ
Zeus standing facing, holding thunderbolt in right hand, spear in left,
     monogram at left, Kharoshthi legend around: maharajasa dhramikasa / heliyakresasa
Reference: MIG 292 var, Bop 5B va

Heliocles II, Bronze Quadruple
Weight: 9.21 gm. Dimensions: 25 x 21 mm Die axis: 12h
Diademed bust of king right, Greek legend on three sides: 
     BAΣIΛEΩΣ / ΔIKAIOY / HΛIOKΛEOYΣ
Elephant walking left, monogram below,
     Kharoshthi legend on three sides: maharajasa / dhramikasa / heliyakre ...
Reference: MIG 294, Bop 7

Heliocles II, Bronze Quadruple
Weight: 9.59 gm. Dimensions: 23 x 22 mm Die axis: 12h
Elephant walking right, Greek legend on three sides: 
     BAΣIΛEΩΣ / ΔIKAIOY / HΛIOKΛEOYΣ
Bull walking right, monogram below,
     Kharoshthi legend on three sides: maharajasa / dhramikasa / heliyakresasa
Reference: MIG 296 var, Bop 8 var

Heliocles II, Bronze Quadruple
Weight: 9.33 gm. Dimensions: 22 x 22 mm Die axis: 12h
Elephant walking left, Greek legend on three sides: 
     BAΣIΛEΩΣ / ΔIKAIOY / HΛIOKΛEOYΣ
Bull walking right, monogram below,
     Kharoshthi legend on three sides: maharajasa / dhramikasa / heliyakreasa
Reference: MIG 297 var, Bop 9 var

http://coinindia.com/galleries-heliocles2.html

Indo-Greeks: Philoxenus (c. 100-95 BCE)

Philoxenus, Bronze Quadruple
Weight: 7.64 gm. Dimensions: 20 x 19 mm Die axis: 12h
City goddess standing left, holding cornucopia, and bestowing blessing
     with outstretched right hand, monogram below at left,
     Greek legend around: BAΣIΛEΩΣ / ANIKHTOY / ΦIΛOΞENOY
Humped bull standing right, Kharoshthi va below,
     Kharoshthi legend around: maharajasa / apadihatasa / philasinasa
Reference: MIG 344d, Bop 10F

Philoxenus, Bronze Quadruple
Weight: 8.06 gm. Dimensions: 21 x 21 mm Die axis: 12h
Lion standing left with one paw raised,
     Greek legend around: BAΣIΛEΩΣ / ANIKHTOY / ΦIΛOΞENOY
Humped bull standing right, monogram below,
     Kharoshthi legend around: maharajasa / apadihatasa / philasinasaReference: MIG ---, Bop ---, Senior ONS 192

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

Western Kshatrapas: Rudradāman

Rudradāman, silver drachm
c. 130-160 CE, "mint A"
Head of king right, blundered Greek legend around /
Chaitya (3-arched hill), river below, crescent moon and sun above, Brahmi legend around
     Rajno Kshatrapasa Jayadamasaputrasa Rajno Mahakshatrapasa Rudradamasa
     

http://coinindia.com/galleries-rudradaman1.htmlSamudragupta

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

S. Kalyanaraman
Sarasvati Research Center
March 30, 2016

http://coinindia.com/galleries-samudragupta.html
https://www.scribd.com/doc/306330925/Parata-Rajas-Brahmi-Kharoshti-chronology-Pankaj-Tandon-2009

Parata Rajas -- Brahmi Kharoshti chronology Pankaj Tandon (2009)

The peculiary of the Pollock challenge -- Ashay Naik

March 30, 2016, 5:48 am

≫ Next: Rajiv Malhotra's tour de force, Battle for Sanskrit -- Prof. VV Raman reflects

≪ Previous: Indus Script hieroglyphs of metalwork, Brahmi, Kharoshthi writing on hundreds of ancient coins from mints of Mauryas, Maghas, Panchala, Pārata, Ujjain, Vidisha, Eran, Bhagila, Kurara, Nandner, Bactria

$

0

0

SNAPSHOT

The Battle for Sanskrit seeks to empower traditional Sanskrit scholars so they can take up this task with regards to the West. 

Ganesh’s final warning that ‘if we allow ourselves to be too troubled by such scholars and such debates, we will never be able to attain the peace of a contemplative mind’ also does not sound right to me.

March 30, 2016

Reading through  Shatavadhani R. Ganesh’s critical review of Rajiv Malhotra’s The Battle for Sanskrit my attention was drawn to an important point regarding the problem with Pollock’s scholarship made in the book which appears to have been missed. This has to do with the loss of adhikara of traditional scholars as experts in Sanskrit and its transfer to Western academicians and their Indian disciples.

Although this point is reiterated several times in the book, its major emphasis has been on the criticism of Pollock’s scholarship and so naturally this becomes the primary consideration of the reader. 

Yet the motivational factor for the book was the transfer of adhikara entailed in the sponsorship of the Advaita chair in Columbia University and much of the advice that Malhotra has proffered, which Ganesh finds untenable, such as the studying of Western theories by traditional scholars, Sanskrit as the language of innovation and change, writing new smrtis, and so on, are related to empowering traditional scholars in order to keep their expertise relevant in the contemporary world.

If the adhikara issue had been considered, I think Ganesh’s critique would have been radically different for he would then have realized the peculiarity of the Pollock challenge and that it is quite unprecedented in the history of the Sanskrit intellectual tradition.

Part of the problem here is that Malhotra himself has not highlighted the novelty of his project but sought to establish a continuity with the Sanskrit argumentative tradition. He claims that in ancient times, Hindu scholars were concerned about the views of ‘others’ and refuted the challenges to their views presented by ‘others’ but over time they became insular, escapist, apologetic, and so on, did not do any purvapaksa of Christianity, Islam, Marxism, Feminism, or any school of thought they encountered in the last millennium, and that he is now seeking to revive this tradition, get the traditional scholars out of their silos, their comfort zones, and so on.

Thus, he expresses his narrative using ancient categories such as purvapaksa andsiddhanta, astika and nāstika, referring to his opponents as Charvakas, and so on. This strategy has the value that it silences the objection that the kind of intellectual critiques he is promoting are typical of Western schools of thought and not of our own. 

But it invites the backlash, as evident in Ganesh’s critique, that Malhotra has no formal grounding in the Sanskrit tradition, that his purvapaksa is lacking inpramanas, that he ignores all the refutations in defence of the Sanskrit intellectual heritage provided by scholars in the last two centuries against the Christians, the Marxists, and so on.

The substance of Ganesh’s critique is that if you are going to locate your project within the Sanskrit intellectual tradition, then you must first understand and agree with the universalist ideals of that tradition, then you must see where your project fits into the tradition – in this case, it is about Form (rupa) and not Content (svarupa), which makes it secondary in importance since the tradition is primarily spiritualist. 

Then, you must check how such a project is to be executed in the context of Form i.e. according to the pramana-purvapaksa-siddhanta chronology and you must acknowledge the contributions of prior teachers – not just tipping the hat but setting forth their arguments and then successively placing your own views in that lineage. Ganesh is right here. This, indeed, is what it means to be part of a tradition.

Pollock’s scholarship is, however, in a completely different league and entails not merely criticising the content of Indian texts, which can be dealt with through refutations, but seeking to usurp authority for representing them. This has been, perhaps, best summed up by his great admirer Ananya Vajpeyi:

Sanskrit must be taken back from the clutches of Hindu supremacists, bigots, believers in Brahmin exclusivity, misogynists, Islamophobes and a variety of other wrong-headed characters on the right, whose colossal ambition to control India’s vast intellectual legacy is only matched by their abysmal ignorance of what it means and how it works?

I am sure most traditional Sanskrit scholars would not consider themselves as belonging to any of these groups but from the point of view of the Pollock school of thought, they would be. What the former would consider as the highest knowledge is precisely what qualifies in the view of the latter as ‘abysmal ignorance.’ 

This threat is not likely to be taken seriously because it is not at all clear what the‘taking back’ of Sanskrit possibly entails. Quite simply, it involves the interpretation of Sanskrit texts in ways radically different from traditional hermeneutics and of instituting those modes of inquiry as authoritative.

I will explain the problem in detail. Consider, for example, the debate about the reality of the self, in which different positions are available in the Sanskrit tradition: the self is non-existent, the self is the body, the self is actor and enjoyer is different from the body, the self is only an enjoyer, the self is only an observer, and so on. 

Now one who takes any of these positions can do a purvapaksa of the others and these are the kind of debates we find in the Indian tradition. A scholar like Pollock, on the other hand, does not have a position to take in this debate as such. Instead, he will say that he is willing to accept all these positions as mere ‘narratives’ and study their social effects. He will conclude that the dominant Hindu view of the self is socially oppressive. 

The main problem here is not the derogatory conclusion but that the inquiry itself is tangential to the concerns of the tradition. Even if you try to prove that the dominant Hindu view of the self is socially liberating, you will be playing someone else’s language game.

As another example, consider different views about the beauty of kavya, whether it is to be found in alamkara, riti, guna, vakrokti, rasa, aucitya, and so on. A scholar like Pollock will say that he accepts all positions as equally valid ‘narratives’ and study how the beauty of kavya served as a political aesthetic i.e. how kavya served as a tool for states to express power. 19th and 20th century European literary theorists did not find Sanskrit kavya beautiful.

Their Marxist disciples in India, like D. D. Kosambi, reproduced the critiques of their European masters and received much opprobrium for it from Western scholars like Daniel Ingalls. Those were the struggles of yesteryear. Pollock is different. He is all praise for the beauty of Sanskrit kavya – he has to, or else how could Sanskrit kavya possibly serve as a political aesthetic?

Thus, Pollock seeks to alter the direction of Indological scholarship itself but what is of great concern is the deceptiveness in which he accomplishes it, lest he be labelled a neo-Orientalist. In his essay The Social Aesthetic and Sanskrit Literary Theory, he fully endorses Ingalls’ position that the literary theory of the Indians must be prioritized in the study of Indian literature. 

And so he does a comprehensive study of the kavyashastra tradition from Bhamaha to Jagannath Pandit, and from this galaxy of scholars he picks up Bhoja, who he argues has been unfairly neglected by the kavyashastra tradition. 

Why Bhoja? Because apparently Bhoja is the only rhetorician who gives priority to a social aesthetic in kavya, which Pollock then reads back into the earlier tradition and laments that it was unfortunately disrupted by the Kashmirian scholars, Anandavardhana and Abhinavagupta, who privileged language-philosophy and emotive experience in their interpretation of kavya. 

But even here, Pollock argues, the ‘social’ remained important although it got occluded. And therefore his project is to recuperate the ‘social’ in kavya. What is meant by the ‘social’ in kavya, you ask? Well, here is an example of a kavya:

You’re free to go wandering, holy man.

The little dog was killed today

by the fierce lion making its lair

in the thicket on the banks of the Godā river.

This is supposed to be an excellent kavya because the expressed meaning that the holy man was free to go to the thicket is contradicted by the suggested meaning (dhvani) which is to prevent him from going there. It is this kind of language use that Anandavardhana held as the greatest form of kavya. But commentators have also suggested in passing that the verse was uttered by a woman to protect the privacy of her rendezvous with her secret lover. 

However, Pollock points out, they have not explained the source of this information and there is nothing in the kavya that provides this information. So there must be some theory about gender by means of which they understood that the verse is about a woman from the behaviour depicted in it. 

Thus Pollock concludes that ‘the real suggestion behind the poems …[is] that the women speakers are sophisticated and clever, and ardent to preserve a place of lovemaking.’ In other words, Pollock is saying that suggestion is fundamentally ‘social’ and not ‘linguistic’ and kavya must be interpreted in a way to recover it. Needless to say, this can only lead to an Indian theory of gender which sanctions the oppression of women by depicting them in a derogatory fashion.

In this way, Pollock’s essay strives to make the point that language-philosophy and emotive experience were themselves grounded in a sociality but the scholars who prioritized them remained oblivious to that social ground. In other words, it challenges the very legitimacy of the significance that Indians have historically attached to language-philosophy and emotive experience in the case of literary criticism. 

At the same time, it also valourizes sociological hermeneutics, which is a Western priority but can now be postulated as a long-suppressed priority of the Indians as well. 

It thus paves the way for a new kind of literary criticism, a new form of knowledge production, in which Sanskrit literary texts can be interpreted not in terms of their linguistic content or the emotive states they affect but as promoting social causes, namely the sustenance of caste and gender hierarchies, and this whole study can remain free of the charge of Orientalism because – and this is the pièce de résistance – it can be presented as a hermeneutics sanctioned by the ancient Indians themselves.

Pollock et al is only revealing what was always there but has remained occluded from the attention of the Indian scholars because of their obsession with language-philosophy and emotive experience in the interpretation of texts, which continues to this day. This is what is meant by ‘their abysmal ignorance of what it means and how it works.’

Now we could be quite broad-minded here and say, so what? Let them do their sociological hermeneutics with our literary texts. We will apply language-philosophy and emotive experience. Let a thousand flowers bloom. But it is not so simple. The main thrust of Pollock’s essay is that the Indian forms of interpretation occlude the sociological study of kavya. So the former will have to be denigrated and cast aside to make way for the latter.

It is just like Christianity.You may say that you will worship your god and the Christian can worship Jesus but the Christian will say that Jesus died for your sins as well and so he is obliged to convert you to Christianity. There is no escaping this struggle which Ganesh hopes he can avoid through a transcendental approach.

Ganesh claims that ‘one has to counter Pollock with facts, and that will come only from a deep study and understanding of the Indian tradition.’ He appears to have great faith in the power of facts: ‘And indeed, when we encounter intellectual dishonesty in scholars who tried to canonize their views as facts, we shall combat them with facts.’ This, I am afraid, is sheer fantasy. I will explain with two examples. 

First, McComas Taylor, a Sanskrit professor at the Australian National University and another great admirer of Pollock, wrote an article called Mythology Wars in which he denounced the critiques of Western academicians written by the authors of Invading the Sacred. With regards to the ‘catalogue of factual errors’ pointed out by Vishal Agarwal and Kalavai Venkat in Courtright’s Ganesa, Taylor had this to say:

‘The fact that Courtright holds this view, and that apparently many of his reviewers and peers in the academy find it illuminating, productive or insightful, cannot be undermined by philological fault-finding. It is possible to disprove a fact by presenting a counter-fact, but interpretations and opinions are not subject to proof or disproof.’ (159, italics mine)

It is evident in this confession that facts are meaningless to our opponents. We will have to produce an analysis which is ‘illuminating, productive or insightful’ to the peers in the academy, and I can assure that it is a task which is beyond all of us.

Second, what do facts means for Pollock? Read his denunciation in Deep Orientalism, of the priority Webber placed on facts in the study of the human sciences:

‘Weber demands, for example, of the students listening that they should just ‘establish the facts.’ He offers to prove ‘in the works of our historians that, wherever the man of scholarship comes forth with his own value judgments, the full understanding of the facts ceases.’ In all of this there is little acknowledgment that historical or cultural facts may not actually be lying about like so many brute existents waiting merely to be assembled, but are actually constituted as ‘facts’ by the prejudgments – by the values – of the historians and ‘men of scholarship’ themselves. Relentless in driving politics from the lecture room, Weber seems to have left it to rule untroubled in the study.’ (85, italics mine)

So skeptical is Pollock about the ability of knowledge to transcend political values that his own knowledge production is unabashedly and openly political. If you say that your knowledge is objective, he will reject it on ground that you are simply oblivious to your own political aims because all knowledge is grounded in some kind of politics. So facts are not really going to get you anywhere. 

This may sound crazy to many Hindus who hold great regard for facts but there is nothing illogical about it. Although we may be patriotic Indians committed to sanatana dharma and proud of our intellectual heritage, the overarching context of our lives is the West, whether in India or in the diaspora. This is our tragic reality. Our strong emphasis on facts is the result of our birth in the scientific age. 

Had we been born at a time when Christianity was the dominant paradigm, Ganesh would have said that we will combat with ‘scriptural evidence.’ But he is a product of the scientific age, so he says that we will combat with ‘facts.’ But the scientific age has now been replaced by post-modernity in which you will have to combat with ‘narratives’ and as Taylor has so eloquently put it, they better be‘illuminating, productive or insightful’ to your peers in the Western academy.

If we do not want our intellectualism to remain a handmaiden of the West, then we will have to cut the Gordian knot on the basis of our intellectual heritage. We cannot simply turn inwards for it is not in the nature of the West to leave anything alone. We will have to take their intellectual traditions seriously and challenge them.

The best example of an analogous situation in our past is the conduct of Yajnavalkya in Janaka’s assembly to which Ganesh has alluded in his critique. Yajnavalkya propounded the atman doctrine which in his view was superior to the ritualistic beliefs of the pandits in the assembly. But he did not tell the pandits they are crass ritualists, the way Ganesh has referred to Western Orientalists and Indian Leftists as crass materialists. On the contrary, Yajnavalkya first answered all the ritualistic questions of the pandits, demonstrated his proficiency in their fields of expertise, and then he explained his own position. 

I think this is the fundamental proposition of The Battle for Sanskrit. It seeks to empower traditional Sanskrit scholars so they can take up this task with regards to the West. Ganesh is right that the Sanskrit intellectual tradition is far too complex and diverse to fit into Malhotra’s simplified paradigms of sacred-alive-liberating vs. political-dead-oppressive, or integral unity vs. synthetic unity, and so on. 

But this in no way undercuts the essential value of The Battle for Sanskrit which is to create awareness of the looming threat posed by Pollock’s scholarship to theadhikara of traditional Sanskrit scholars. Ganesh’s analogy of an over-zealous Arjuna and Yudhishthira’s advice to Bhima to not act out of haste is most unbecoming.

On the contrary, it is creditable that Malhotra has rushed into the field even if prematurely and at great risk to his own reputation, because time is running out. The MCLI project has already gone to Pollock. The Advaita chair was already on the way and more would have followed. 

If now is not the time to act, when? Ganesh’s final warning that ‘if we allow ourselves to be too troubled by such scholars and such debates, we will never be able to attain the peace of a contemplative mind’ also does not sound right to me. Wouldn’t the advice of the Gita to the intellectual be that one should seek ‘the peace of a contemplative mind’ precisely at the moment when one is engaged with ‘such scholars and such debates’?

http://swarajyamag.com/culture/the-peculiarity-of-the-pollock-challenge#.VvvCuM1WuCM.twitter

Rajiv Malhotra's tour de force, Battle for Sanskrit -- Prof. VV Raman reflects

March 30, 2016, 5:55 pm

≫ Next: How punch-marked coins replaced barter system in Bharat

≪ Previous: The peculiary of the Pollock challenge -- Ashay Naik

$

0

0

Dear Friends:

Rajiv Malhotra's "The Battle for Sanskrit" is a path breaking work of scholarship. It's reviewed here by Professor V.V. Raman,Emeritus Professor of Physics and Humanities, Rochester Institute of Technology, and author of more than a dozen books, many available on Amazon.com. Three of them are mentioned at the end of this review article.

Reflections on

The Battle for Sanskrit:Is Sanskrit political or sacred? Oppressive or Liberating? Dead or Alive? By Rajiv Malhotra

Introduction

Many adjectives can be used to describe this book: interesting, fascinating, provocative, scholarly, penetrating, belligerent, highly original, revolutionary, polemical, deeply moving, revealing, and more. It is all of this.

Simply put, the  book explores those aspects of the academic field of Indology that irritate a growing number of Hindus who are beginning to regard Indology,  not as a scholarly pursuit (which it is meant to be), but as a hyper-critical, vicious, and sometimes sinister enterprise directed  at their traditions, worldviews, and religion. In this mode, argues the author,  Indology does not shed light on Indic culture and Sanskrit studies, but does much harm to it. The book is an inevitable reaction to having been colonized and feeling oppressed by alien powers.

The British occupation of India for almost two centuries is an irreversible historical fact. That the people of India suffered considerable economic exploitation and political oppression during that period cannot be denied. Whether the long range consequences of that nightmare included anything positive may be, and has been, debated. Many Hindus grant that one eventual positive result of British intrusion is that they have been  relieved of Mogul rule and Arab-Persian cultural/linguistic dominance. Also, contrary to their customary practice of divide-and-rule, the British united the regional and linguistic groups of India under a single tricolor as a modern parliamentary democracy, and left.

In the processes, among other things,  they inflicted English grammar and vocabulary on the people of India, changing forever the political and intellectual landscape of the people. Even after almost seven decades of independence, for the better or for worse, many modernized Hindu thinkers use English as  a unifying force. Indians from Kashmir to Kanyakumari, from Bombay and Gujarat to Bengal and Assam are conversing in this common imported  language. In the view of some, English also turned out to be intrinsically evil in sowing the seeds of cultural self-deprecation among  Anglo-Hindus as a result of Euro-brainwashing. It must be pointed out in this context that this ill-effect is/was not on all Hindus. We have only to think of Lokamanya Tilak, Mahatma Gandhi, Swami Vivekananda, Sri Aurobindo, S. Radhakrishnan, K. M. Munshi, C. Rajagopalachari, and hundreds of other devout Hindus who were molded by English education in British-established universities whose devotion to their culture did not diminish a bit. Ironically, Hindus who have grown up in independent India seem to be more West-embracing and svadeshi-culture-ignoring than their grandparents.

This book is peripherally concerned with these matters, but that is not its main concern. Its central refrain is that Indology, especially of the past few decades at the hands of some reputed professors in American Academia has snatched away from practicing Hindus a discipline that properly belongs to Hindus; and that American Indology has subjected sacred Sanskrit writings to profane vivisections, diluting and distorting their contents. More seriously, it has injected its cold and unfeeling approach in the minds of countless unwitting Hindus. Not content with their disturbing commentaries from a distance, some American Indologists have also been meddling in the cultural and political affairs of the Hindu world within India (such as the Barbri-masjid issue and Dalit unrest), advising and instigating Hindus on such matters. The book eloquently responds to some of the critiques of Indic culture from the pen of American Indologists. The book learnedly and meticulously illustrates its contentions from the writings of some well-known American Indologists, in particular Professor Sheldon Pollack of Columbia University, NY. It is no secret that Professor Pollack has devoted decades of his life to the study of Hinduism. He has written extensively on the subject, and has received many tokens of appreciation and high praise from Hindus in India as well as from NRIs.

Some key theses in the book

1.Whereas Chinese studies are managed largely by Chinese scholars, Japanese studies by Japanese scholars, Arabic studies by Arab scholars, etc., a good deal of Hindu studies are conducted and directed by Westerners, mainly affiliated to American universities.

Some may say: that this is so after more than sixty years of Indian independence is a reflection as much on Hindu thinkers as on scheming by American Indologists. But this is precisely what Malhotra is revealing.

2. Unwitting Hindus who get doctoral degrees from American universities have fallen prey to the approaches and interpretations of their ill-wishing non-Hindu gurus.

3. The root of the problem lies in the fact that whereas in the Hindu approach one is sensitive to and respectful of both worldly (vyavaharika) and spiritual (paramarthika) dimensions of human experience, the outsider’s (Westerner’s) approach is bereft of anything spiritual, relying solely on a heartless rational reduction of everything, resulting in a picture of the tradition that is often  absurd, anachronistic, and even grotesque.

4. Distorted views of Hinduism are propagated through books, lectures, and college courses: an enterprise in which a good many Hindus naively and shamelessly participate, both within India and beyond the shores of India.

5. Influential books and commentaries written from alien nástika perspectives not only devalue classical Sanskrit writings – the Vedas, the shastras, the puranas, the prasthanatrayi, etc. - they undermine the very foundations of a culture that has enriched generations of Hindus and survived the onslaught of inimical invaders who have systematically engaged in committing cultural genocide of the Hindu world. 

6. Assertions to the effect that Sanskrit is a dead language, that it is the root cause of violent responses of Hindus when their culture, religion, and country are attacked, that the epics are no more than literary instigations against Non-Hindus are gross abominations against Sanskrit epics and tradition, spread by modern Indologists in American academia.

7.There is a concerted effort by Western scholars, dating back to Max Müller et al., and now rampant in American academia,  to decry, denigrate, and defame Hindu civilization. This is an enterprise in which a good number of trained Hindus (pejoratively described as sepoys) participate.

8. Sanskrit is more than a language: it is the substratum of the dharmic culture on which Indic civilization is built. To disrespect and dissociate the sacredness of Sanskrit is equivalent to shaking the foundations of dharma. Hindus must collectively fight the usurpation of Sanskrit studies by Western/American Indologists.

9. There are key terms and concepts in Sanskrit that are unique to the culture. These are often mistranslated or approximately translated, leading to further confusion in efforts to understand the rich, complex, and sophisticated Hindu culture.

10. To inject more dynamism into Sanskrit, new word-books of Sanskrit terms and phrases of relevance to the modern world must be published. Scholars should write prose and poetry, plays and essays in Sanskrit.

Possible reactions to the call

Of the many deep insights and  reflections in the book, perhaps the most important and urgent is, as noted earlier, the call for Hindus to take over Indology/Sanskrit-studies from Western scholars and from Hindu commentators who have been trained by them. This may not be an altogether original idea, but this is the first of its kind to be so frankly and fearlessly articulated with clarity, cohesion, conviction, erudition, and extensive quotations from the undesirable authors.

It is very possible that Western scholars, irrespective of their motivations,  will recognize that they are simply not welcome in the study of Indic culture. If they are not jolted into the recognition that  time has come for them to retreat from their inquisitiveness about India with their outsider-lenses, they are likely to be made even more uncomfortable in the decades to come. The passion with which these matters are discussed in Malhotra’s books will only inflame a vast number of Hindus who may not be scholars in the field, who may not have even read the authors in question, but who feel deeply about their culture and religion. Already some American Indologists have become persona non grata in India, and their books have been put on the anathema list. This may be only the beginning of more unpleasantness to come.

Malhotra is a rare instance of an activist-scholar. His dedication to the cause has already elicited much applause from countless  Hindus who love their religion and tradition.  His goal of seeking Hindu independence from Non-Hindus who are prying into Hinduism is being discussed in many academic institutions in India. His book is a significant contribution to achieving the goal of asserting one’s own adhikara (authority) over one’s heritage and culture.

No matter how Western Non-Hindu Indologists plead their case, they are likely to find little support from among the growing class of Hindus who are made to see through Malhotra’s writings what may be called the dark side of Indology. Hindus who differ from Malhotra’s views on some of these  matters dare not speak for non-traditional perspectives, let alone on behalf of  Western scholars because they are likely to be ridiculed and caricatured, if not condemned as treasonous. A number of Hindus are already facing public condemnation on this score in internet debates.

I am greatly impressed by Malhotra’s deep devotion to Hindu culture which has inspired him to write his many books on the threats it is facing in the modern world. I also give him high marks for his historical insights, extensive scholarship, and well-framed arguments against the charges brought by alien critics of the Hindu world.

Other aspects of the topic

Having said all this I would note the following, not as criticisms of the book, but as some related perspectives relevant in the context of these discussions.

On vyavaharika and paramarthika: It is true that in the Hindu framework this important distinction is often made, and the vast majority of traditional Indic thinkers subscribe to this dual richness in the human experience. But this dichotomy is not unique to the Hindu world. Christians and Muslims also make a difference in their own ways between lived first-order reality and a world of transcendental truths corresponding to the Hindu Indeed, what differentiates modern from pre-modern perspectives is that the former explicitly rejects paramarthika. Malhotra’s criticism that this approach distorts and diminishes mainstream Hindu perspectives is absolutely correct. However, this happens with Christianity and other traditional religions as well. Commentaries on religious texts often sound hollow and disrespectful when their spiritual dimensions are absent, ignored or belittled.

In all dynamic cultures thinkers have arisen who have challenged the paradigm of received wisdom. Charvaka was the most outstanding example of this school of thought in classical India. Some even count the Buddha in this regard.

This is what distinguishes Hinduism from most other major religions. In other religions, if a member of the faith questions or rejects the supernatural, he/she is automatically kicked out of the fold or dealt with more severely. In  Hinduism  this is not the case. There are countless Hindus today who are respectful of the aesthetic, meaningful, and festival aspects of their religion without subscribing to its ethereal and metaphysical doctrines.

Unfortunately many of the dissenters from orthodoxy have been writing in English. So they seem to be imitators of alien unfriendly characters, rather than Hindus who are expressing their right to think differently from ancient worldviews. It is important not to ascribe free, rationalist, and nature-based interpretations of the world only to Western thinkers and their slavish imitators. There are many Chinese, Japanese, and Korean thinkers who also subscribe to this view.

Malhotra’s thesis that Hindus have been so brainwashed by Western education that they are unable to view their own culture with an insider’s perspective is perceptive and very valid. But this is equally true of Westerners in their post-European-Enlightenment phase. Millions of them have been so brainwashed by the so-called modern thinkers that they are unable to look into their own traditional culture from the insider (pre-Enlightenment) perspective.

In modern times there have been many keen Indians, such as Suniti Kumar Chatterjee, Meghnad Saha,  M. N. Roy, Nirad C. Chaudhuri, E. V. Ramaswami Nayakar, Brahmananda Swami Sivayogi, Vinayak Damodar Savarkar, as well as thousand of members of the Indian Rationalist Association who  reject and even denied/deny the existence of paramathmika. They were/are all as Hindu as their traditionally devout co-religionists.

As Kalidasa wisely reminded us,

Puránamityeva na sádhu sarvam, na chápi kávyam navamityavadyam

Not everything old is good, not everything new is bad.

It seems to me  unfortunate and  unfair that Malhotra, in his frustration at Hindus who choose to adopt a materialist view in philosophical/traditional matters, castigates them with demeaning epithets. There are any number of Westerners, born and brought up in Judeo-Christianity, who have embraced Hindu spirituality at a later stage of their lives: From Annie Besant and Sister Nivedita to Swami Agehananda Bharati and quite a few others in our own times. Would it be fair or appropriate for Christians to decry them as having slavishly fallen prey to Eastern mysticism?

On Indologists: While everything stated in the book regarding current trends in Indology is appropriate and needs to be said, one cannot – indeed one should not – ignore or suppress the positive contributions of Western scholars to the field of Indic studies. Through their explorations – biased and often with self-serving motivations – they founded the disciplines of Egyptology, Sinology, Indology, etc. which brought to light troves of treasures that remained buried underground and/or faded from humanity’s collective memory. Few Hindus in the eighteenth century had even heard of Aryabhata and the Bhaskaras, Caraka and Shushruta, let alone known about Ashoka Stupa, Ajanta Caves, Mohenjodaro and Harappa.

In 1834 Charles Matthew Whish, a British employee of the East India Company, published a paper in The Transactions of the Royal Asiatic Society of Great Britain and Ireland, where he wrote: “Kerala mathematicians had. . . laid the foundation for a complete system of fluxions. . . and their works. . . abound with fluxional forms and series to be found in no work of foreign countries.” This was resuscitated and explored further by a scholar from Kerala affiliated to the University of Manchester towards the close of the twentieth century.

Western Indologists not only brought to light many hidden gems of  Hindu and Buddhist  India, they also made them available to the world at large, thereby alerting the West of aspects of ancient India’s greatness of which they, like other Hindus, had been totally ignorant. I say this in the spirit of giving the devil his due, not for defending the negative aspects of Indology.

Let me reiterate that nothing of what I am saying here is to condone the untenable and deprecating writings of Non-Hindu Indologists that are explicitly detailed in this book, much less to argue that Sanskrit studies must continue to be in the hands of those who have no  insider-experience of Vedic tradition. I would emphasize that all commentators on religions must realize that the religious framework embodies cultural certitudes that only the initiated can experience and embrace. There is no religion without the poetry of symbols that add to the aesthetics, and the metaphor of parables that convey the esoteric meanings  implicit in the abstract resonance of revealed truths. Scholars who don’t recognize this are like color-blind connoisseurs who appraise a painting splashed on a black and white TV screen, unable to experience the chromatic splendor of the original. They just don’t get it (all).

Analytical inquiry is fruitless reveals aspects of what is studied that are opaque to emotive involvement. The Ramayana as literature and the  Gita  as a philosophical work don’t  give a tenth of the spiritual ecstasy that bhajans and chants offer, but they take us to different realms that are rich in their own ways. As with the wave-particle duality of the electron, the more we focus on one aspect – the experiential or the analytical – the more the other gets blurred. In saying that one or the other is the whole truth  one loses half of what the work has to offer.

Scholars in the West have dissected their own culture from profane (non-sacred) perspectives, and have enriched their intellectual-spiritual heritage in the process. Perhaps they don’t have the right to do this with other cultures. In Hamlet’s phrase,  there’s the rub. If they do, they can expect reactions like this book, with more of its kind to come. At the same time, thinkers within any culture would do well to examine their own culture from  perspectives that make them more relevant in the twenty-first century.

On mining from Sanskrit: There is much truth in the statement that “westerners from many other disciplines and walks of life are mining ancient Sanskrit for its philosophical sophistication, spiritual guidance, and potential for expanding systematic knowledge in fields ranging from physics to mind sciences,” especially in the fields of philosophy, epistemology,  psychology and the cognitive sciences. But I doubt that practicing physicists (that includes Hindu physicists from S. N. Bose and C. V. Raman to S. Chandrasekhar and G. Sudarshan)  mine Sanskrit writings for their research in current physics. That is not how physics progresses. Even if some do,  that is minimal compared to how much Hindus mine from the Western knowledge base in modern science. Many things that abundantly  enrich India today: from electromagnetism and nuclear energy to computers and you-tube, let alone the violin, the harmonium, and cricket,  are from the West. Universal science and knowledge are for all humanity to mine from and contribute to. The universal wisdom in Sanskrit belongs to this category.

The Rohan Murty Library Project: This has become another controversy provoked by this book. The goal is to translate Indian literary works from various Indian languages into English and present them via Harvard University. It is unfortunate that Indians are still seeking shelter and recognition from Western universities and the English language  to publicize their culture and civilization. Harvard would do well, as did another university in California, to say “Thanks, but no thanks!” to Indian millionaires who want to establish Hindu chairs in the West, and ask them to better use that money to establish pátashalas in India to educate Hindus on their culture and civilization: an enterprise that was thwarted by Thomas  Babington Macaulay. 

Concluding Thoughts

All said and done, the vast majority of practicing Hindus, especially those that don’t speak English,  don’t need or read the commentaries of Western scholars on their religion except when they are drawn to them by books like The Battle for Sanskrit. Even if they do read such books, their own faith, inclinations, and commitments are not likely to be adversely affected by what American scholars say about the Ramayana, the Gita, Lord Ganesha or Saint Ramakrishna.

Nevertheless, The Battle for Sanskrit is a book of enormous value, significance, and relevance. Many have heard the opening line of Rudyard Kipling’s The Ballad of East and West. But it is worth recalling its first four lines:

Oh, East is East, and West is West, and never the twain shall meet

Till Earth and Sky stand presently at God’s Judgment Seat;

But there is neither East nor West, Border, nor Breed, nor Birth,

When two strong men stand face to face, tho’ they come from the ends of the earth!

In Kipling’s era the twain could never have met, because both were not equally strong. But today East and West stand face to face as two strong (free) men. Now they can talk as equals without feeling superior or inferior. That is what we are witnessing in our own times.  Malhotra’s voice is a bold stance that the East (Hindu India) is taking vis-a-vis the West, saying, “Stop it! Our culture and religion are not toys for you to play with in the ivory towers of your universities.” The West has no choice but to listen with respect and some contrition. As a result of this book, Indology as a discipline may be discontinued and disbanded, or its paradigm will be significantly shifted.

Like Sri Aurobindo of an earlier era Rajiv Malhotra is reminding his co-religionists that there are profound truths and spiritual richness in classical Vedic visions. Except for his antagonism for the West, he is the Hindu equivalent of G. K. Chesterton, C. S. Lewis and other Christian thinkers who brought out effectively the deeper roots of their tradition to their people and won millions of followers. At the very least the Hindu world should be deeply grateful to him for his tireless commitment to the cause.  Indeed, he is likely to be declared a modern rishi, and deservedly so.

Varadaraja V. Raman

Author of:

Indic Visions in an Age of Science

Voyage through Indic Tradition

Truth and Tension in Science and Religion

How punch-marked coins replaced barter system in Bharat

March 30, 2016, 6:44 pm

≫ Next: Hold all polls together, save time, money: NaMo. An idea as good as bringing back kaalaadhan from foreign institutions into Bharat, go for them, NaMo.

≪ Previous: Rajiv Malhotra's tour de force, Battle for Sanskrit -- Prof. VV Raman reflects

$

0

0

Mirror: http://tinyurl.com/znfujy3

See:http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyphs-on-19-punch.html Indus Script hieroglyphs on 19 punch-marked coins (Ancient janapada mints) deciphered as metalwork proclamations http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyphs-on-early.html Indus Script hieroglyphs on early Magadha pre-karshapana 5 punch-marked coins ca. 6th cent BCE deciphered as metalwork catalogues 

The picture shown in the news report is a Shakya punch-marked coin

Shakya Vajji or Lichchavi janapada. 600 to 450 BCE. A dot within a pentagonal circumscript. The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha brass (i.e. alloy of copper + zinc). Thus the hieroglyph of a pentagon circumscribing a dot may read 'brass ingot': thattha 'brass' PLUS खोट khōṭa 'A mass of metal (unwrought or of old metal melted down); an ingot or wedge.Silver 5-shana c. 600-450 BCE Weight:7.04 gm., 20 x 20 mm. Central pentagonal symbolwith additional symbol to left/ blank Ref: See Rajgor, 522-531.

This hieroglyph-multiplex may also read pañcantaṭṭāṉ, 'goldsmith (who works with five metals)' in:பஞ்சகம்மாளர் pañca-kammāḷar , n. < pañcantaṭṭāṉ, kaṉṉāṉ, ciṟpaṉ, taccaṉ, kollaṉ; தட்டான், கன்னான், சிற்பன், தச்சன் கொல்லன் என்ற ஐவகைப் பட்ட கம்மாளர். (சங். அக.)

Why is a pentagon shape chosen as circumscript to a dot (blob)?

Consistent with Indus Script Cipher, this signifies pancaloha coin, an ingot made of a 5-metal alloy.  The dot of blob is goTa 'round, pebble' rebus: khoTa 'ingot, wedge'. Ancient smiths, Bharatam Janam (an expression used by Rishi Visvamitra in Rigveda) were experimenting with many alloys and many methods of casting metal objects (implements, tools, weapons, even sculptures) using hard alloys and techniques such as cire perdue (lost-wax) casting. This metallurgical heritage should be documented using Indus Script hieroglyhs and disseminated in all schools, the world over.

S. Kalyanaraman

Sarasvati Research Centre

How punch-marked coins replaced barter system

M T Saju | TNN | Mar 31, 2016, 01.19 AM IST

Punch-marked coins are considered the earliest documented coins in India.

Chennai: When the barter system lost credibility in ancient times, a uniform currency system came into being. But checking the weight and purity of the metal used for this purpose required technical expertise. To overcome the problem, an authentication mark was stamped on the piece of metal to promise that it had adequate purity and weight. The next step was to decide the authority who could assign these guarantee marks on the metal piece. Eventually, the ruling king of the concerned territory was given power to issue coined money.

Punch-marked coins are considered the earliest documented coins in India, according to P V Radhakrishnan, curator at RBI Monetary Museum, Mumbai. "These coins are mostly made of silver, and bear various symbols, each of which is punched on the coin with a separate 'punch'. The date generally accepted for these coins is the beginning of the 6th century BC," he said, while speaking on "Significance of the symbols on ancient Indian coins and un-inscribed coins of Tamil Nadu from 500 BC to AD 300," at the department of ancient history and archaeology, University of Madras, on Wednesday.

The scholars who studied this series classified them into two groups, local and universal. "The local punch-marked coins generally carry one, two or four symbols and were issued in different weight standard, fabric and execution, varying in different regions or localities. These coins are ascribed to various small and large states (janapadas and mahajanapadas), many of which existed in India from early times," he said.

The imperial punch-marked coins, according to Radhakrishnan, uniformly bore five symbols. These coins were issued first by the Magadha dynasty when it was still a janapada. Gradually, Magadha extended its dominions by annexing neighbouring states and became a powerful monarch. "By the time of Ashoka, the Magadhan empire had spread over most of the Indian subcontinent. Its coins also spread with the empire's expansion and have been found in large numbers across the length and breadth of the Mauryan Empire, from Western Afghanistan to today's Bangladesh, and from the Himalayan foothills to the Deccan. The silver punch-marked coins also travelled beyond the Mauryan territory to the Chera, Chola and Pandya kingdoms of South India and to Sri Lanka due to the spread of Buddhism and extensive maritime trade," he said.

Radhakrishnan said the Indian silver punch-marked coins are unique and different from other contemporary currencies of the world. Indian coins dating from the 6th century BC to the 3rd century AD reflect the worship of nature, Vedic divinities, Brahmanical and Hindu gods, Yaksha and Yakshi figures, tribal gods, and deities of Buddhism and Jainism.

"Copper was prominently used by the Cheras, Cholas and Pandyas. There is no indigenous gold coin known for this period. A large number of silver denarii and gold aurei (Roman coins) were unearthed from various parts of south India. The imperial silver punch-marked coins of the Magadha and Maurya dynasties were also freely exchanged as a medium of exchange all over Tamil Nadu," he added. 

http://timesofindia.indiatimes.com/city/chennai/How-punch-marked-coins-replaced-barter-system/articleshow/51623892.cms

---

Hold all polls together, save time, money: NaMo. An idea as good as bringing back kaalaadhan from foreign institutions into Bharat, go for them, NaMo.

March 30, 2016, 7:26 pm

≫ Next: A manifesto of Marxist-Mullah-Missionary axis. It is time for Hindus to wake up and counter this axis.

≪ Previous: How punch-marked coins replaced barter system in Bharat

$

0

0

Print

Hold all polls together, save time, money: PM Modi floats idea

Written by Liz Mathew | New Delhi | Updated: March 31, 2016 7:36 am

PM Narendra Modi

Concerned over parties and workers spending too much time and money in electioneering, Prime Minister Narendra Modi has floated the idea of holding simultaneous elections to panchayats, urban local bodies, states and Parliament. This, he feels, will also give political and social workers more time to take people-oriented programmes to the grassroots.

Sources said the Prime Minister, while addressing office-bearers of the BJP at the party national executive meeting recently, told them he had mooted this idea at an all-party meeting ahead of the Budget session.

“The Prime Minister was talking about political workers spending a lot of time electioneering. As a result, they get less time for social work. The Prime Minister wanted party workers to devote more time to taking people-friendly programmes of the governments to the grassroots,” a BJP leader, who was present at the meeting, said.

“Modi said when he suggested it at the all-party meeting, almost all political leaders agreed with him. The BJP is in favour of this idea,” the leader said.

BJP leaders say that frequent elections, which see the model code of conduct being imposed in poll-bound areas, put on hold all development programmes and activities of governments in states and at the Centre. This affects governance.

“The system is on hold every now and then. The bureaucracy’s functioning also gets affected, often leading to policy paralysis and governance deficit,” another BJP leader said.

According to this leader, the Prime Minister pointed out that conducting elections to panchayats, urban bodies, states and Parliament together will reduce the huge expenditure incurred on different elections every year. The Election Commission estimates that holding elections to Lok Sabha and assemblies cost around Rs 4,500 crore.

Incidentally, the BJP manifesto released ahead of the 2014 Lok Sabha polls had underlined: “Evolve method of holding Assembly and Lok Sabha elections simultaneously.”

In its report on ‘Feasibility of Holding Simultaneous Elections to the House of People (Lok Sabha) and State Legislative Assemblies’, tabled in Parliament last December, the Standing Committee on Personnel, Public Grievances, Law and Justice said “a solution will be found to reduce the frequency of elections which relieve people and government machinery, tired of frequent electoral processes.” The report said this is “important for India if it is to compete with other nations in developmental agenda on real time basis as a robust, democratic country.”

http://indianexpress.com/article/india/india-news-india/hold-all-polls-together-save-time-money-pm-modi-floats-idea/

A manifesto of Marxist-Mullah-Missionary axis. It is time for Hindus to wake up and counter this axis.

March 30, 2016, 8:16 pm

≫ Next: Cock-and-bull story of fiduciary relationship by RBI in SC. This is nation's wealth to be safeguarded. If RBI can't manage this national responsibility, it should go.

≪ Previous: Hold all polls together, save time, money: NaMo. An idea as good as bringing back kaalaadhan from foreign institutions into Bharat, go for them, NaMo.

$

0

0

User Actions

 

Subramanian SwamyVerified account‏@Swamy39

Kerala Church appeals for Christian Muslim unity against Hindu unification | http://nishantdas.net http://nishantdas.net/church-appeals-for-christian-muslim-unity-against-hindu-unification/ …

http://nishantdas.net/church-appeals-for-christian-muslim-unity-against-hindu-unification/#more-403

Thanks to Dr. Swamy for inviting attention to this link.

Translation of a Malayalam article by Father Paul Thelakat of Syro Malabar Church into English is a revelation and exposes the justification for the Marxist-Mullah-Missionary axis which is seen on many spheres of political economy of Bharat.

Please read the translation at the above-cited URL. The article in Malayam is here: http://www.mangalam.com/opinion/383929 Read and awaken Bharata.

The key manifesto note on the axis is this, justifying the Marxist-Mullah-Missionary axis using 'religious tradition':

“…the brotherhood created by the one god and the one parents of Judeo-Christian-Islamic religious tradition based on the faith of Abrahamj. Ezhava renaissance too is related to Communism which is also part of the same stream.”

I think, voters of Kerala  have an opportunity to realize the nature of the axis against Hindu dharma. Kudos to Vellapally Natesan who has clearly identified by the nature of the assaults on Hindu dharma.

S. Kalyanaraman
Sarasvati Research Center

ഇതു സമത്വത്തിന്റെ ജനാധിപത്യകഭാഷയല്ല

ഫാ. ഡോ. പോള്‍ തേലക്കാട്ട്‌

Story Dated: Friday, December 4, 2015 02:24

വെള്ളാപ്പള്ളി നടേശന്റെ നേതൃത്വത്തിലുള്ള സമത്വയാത്ര കേരളത്തില്‍ നടക്കുകയാണല്ലോ. അദ്ദേഹം ക്രൈസ്‌തവസഭയുടെ ഘടനകളെ വളരെ താല്‍പര്യപൂര്‍വം അനുകരിക്കുന്ന വ്യക്‌തിയാണ്‌. അത്‌ എസ്‌.എന്‍.ഡി.പി. സംഘടനയ്‌ക്കു ഉപകാരപ്രദമാകുന്നതില്‍ സന്തോഷമുണ്ട്‌. പക്ഷേ, നമ്മുടെ കമ്പോള സംസ്‌കാരത്തിന്റെ പ്രത്യേകതകൊണ്ടായിരിക്കാം അദ്ദേഹം അതികഠിനമായ അനുകരണാജന്യമായ സ്‌പര്‍ധയുടെ പിടിയിലാണ്‌. അതുകൊണ്ട്‌ ക്രൈസ്‌തവസഭയോടു വെറുപ്പും വിദ്വേഷവും ഒളിഞ്ഞും തെളിഞ്ഞും പ്രകടിപ്പിക്കുന്നു. അദ്ദേഹത്തിന്റെ സമത്വയാത്രയുടെ ലക്ഷ്യം കേരളത്തിലെ ഹിന്ദുക്കളുടെ ഐക്യമാണെന്നു പറയുന്നു. ഹിന്ദു സംസ്‌കാരത്തിന്റെ സത്തയറിയാതെ അതിന്റെ ഐക്യത്തിനുവേണ്ടി ഇറങ്ങിത്തിരിക്കുന്നു, ചിന്തിച്ചുപോയി.
കാരണം ഹിന്ദുഐക്യം ഹൈന്ദവമല്ല തന്നെ. അങ്ങനെ ഒരു ഐക്യത്തിന്റെ സ്വപ്‌നമോ ദര്‍ശനമോ അതിലില്ല. ഹിന്ദുത്വവാദികള്‍ അതു പറയുന്നതു രാഷ്‌ട്രീയ അധികാരത്തിനു വേണ്ടിയാണ്‌. കാരണം ആ സംസ്‌കാരത്തിന്റെ ഉറവിടങ്ങളില്‍ ഐക്യത്തിന്റെയോ സംഭ്രാതൃത്വത്തിന്റെയോ ഒന്നുമില്ല. അപ്പന്‍ ശരിയല്ലെങ്കിലും സഹോദരങ്ങള്‍ ഐക്യപ്പെടും. കാരണം അവര്‍ ഒരു അച്‌ഛന്റെ മക്കളാണ്‌. ഐക്യം സാധ്യമാകുന്ന ഒന്നും ഹിന്ദുത്വത്തിലില്ല. അങ്ങനെ ഒരു പൊതു പിതാവില്‍ അവര്‍ വിശ്വസിക്കുന്നുമില്ല. ദൈവങ്ങള്‍ പോലും ഭിന്നമാണ്‌. സാഹോദര്യം, സമത്വം ഇവയ്‌ക്ക്‌ ഒരു പൊതു പൈതൃകം വേണം. ഫ്രഞ്ച്‌ വിപ്ലവമൂല്യങ്ങളായ സമത്വം, സാഹോദര്യം, സ്വാതന്ത്ര്യം ഇവയുടെ പിന്നില്‍ ഒരു പൊതു പൈതൃകവും ഒരു ദൈവവുമുണ്ട്‌. ഇതു മുസ്ലിം മതത്തിലുമുണ്ട്‌. ഐക്യപ്പെടുത്തുന്ന പൈതൃക സങ്കല്‍പങ്ങളില്ല. മാത്രമല്ല ഐക്യപ്പെടാന്‍ കഴിയാത്തവിധം ശരീരം വിഭജിതമാണ്‌. ബ്രഹ്‌മാവില്‍നിന്നുള്ള ജനനത്തില്‍ പോലും ഉച്ചനീചത്വങ്ങളാണ്‌.
വെള്ളാപ്പള്ളി കൊണ്ടുനടക്കുന്ന ആദര്‍ശങ്ങള്‍ അയല്‍ക്കാരില്‍നിന്നു കടമെടുത്തതാണ്‌. ആ സമത്വം അസാധ്യമായവരെ ഒന്നിപ്പിക്കുമ്പോള്‍ ഒരു പഴയ കഥ ആവര്‍ത്തിക്കുന്നതുപോലെ തോന്നുന്നു - വെള്ളം കലക്കിയ ആട്ടിന്‍കുട്ടിയോടു കോപിക്കുന്ന കുറുക്കന്റെ കഥ. കോപം കൊന്നുതിന്നാനുള്ള കൊതിയാണ്‌. ഈഴവരെ സമന്മാരായി നായന്മാര്‍ പരിഗണിച്ചില്ല; അമ്പലത്തില്‍ കയറ്റിയില്ല. അതുകൊണ്ട്‌ അവര്‍ ഈഴവ അമ്പലങ്ങള്‍ ഉണ്ടാക്കി. അതില്‍ പുലയനും പറയനും പ്രവേശനം കിട്ടിയില്ല. അതിന്‌ ക്രിസ്‌ത്യാനികളും മുസ്ലിംകളും കുറ്റക്കാരായ പോലെയാണ്‌ വെള്ളാപ്പള്ളി ഇപ്പോള്‍ സമത്വയാത്ര നടത്തുന്നത്‌.
ചോദിച്ചേക്കാം; ഈഴവര്‍ ഹിന്ദുക്കളാണോ? ഇ. മാധവന്റെ സ്വാതന്ത്ര്യ സമുദായത്തില്‍ അര്‍ഥശങ്കയില്ലാതെ പറയുന്നു ഈഴവര്‍ ബുദ്ധമതക്കാരാണ്‌, അവര്‍ ശ്രീലങ്കയില്‍ നിന്നുവന്നവരാണ്‌ എന്ന്‌. ഇതു കുമാരനാശാനേയും ശ്രീനാരായണ ഗുരുവിനേയും വായിച്ചാല്‍ വ്യക്‌തവുമാണ്‌. കേരളത്തില്‍ ബൗദ്ധ പാരമ്പര്യമുള്ളവരാണു സുറിയാനി ക്രിസ്‌ത്യാനികളും. അവരുടെ പള്ളി, അപ്പന്‍, മുത്തപ്പന്‍ തുടങ്ങിയ പദങ്ങളും സ്‌ത്രീകളുടെ ചട്ടയും മുണ്ടും ബൗദ്ധ സ്വാധീനത്തിന്റെ സൂചനകളാണ്‌. ബൗദ്ധപാരമ്പര്യം സംഘബോധത്തിന്റെയും സംഭ്രാതൃത്വത്തിന്റെയുമാണ്‌.
വെള്ളാപ്പള്ളി ഐക്യത്തില്‍നിന്നു പുറത്താക്കുന്നതു ക്രിസ്‌ത്യാനികളെയും മുസ്ലിംകളെയുമാണ്‌. ബ്രാഹ്‌മണാധിപത്യത്തിനു കീഴില്‍ ഭൂമി ബ്രഹ്‌മസ്വവും ദേവസ്വവുമായിരുന്നു. പാട്ടം, കാണം, വാരം എന്നിങ്ങനെ എടുത്തു കേരളത്തില്‍ കാര്‍ഷികവൃത്തിയില്‍ മാത്രം ആശ്രയിച്ച്‌ ജീവിച്ചുപോന്ന മൂന്നു സമുദായങ്ങളാണ്‌ ഈഴവരും, ക്രിസ്‌ത്യാനികളും, മുസ്ലിംകളും. സര്‍ക്കാര്‍ ജോലികളും ഭൂമിയും ആഢ്യവര്‍ഗത്തിന്റേതായിരുന്നു. അപ്പോള്‍ അവശതയില്‍ ജീവിച്ചവരാണ്‌ എന്നതു മറക്കാം.
പക്ഷേ, ഈ മൂന്നു കൂട്ടര്‍ക്കും കൃഷിഭൂമി സ്വന്തമായി ലഭിച്ചതു കമ്യൂണിസ്‌റ്റായ ഇ.എം.എസ്‌. നമ്പൂതിരിപ്പാടിന്റെ ഭൂനിയമങ്ങളെ തുടര്‍ന്നാണ്‌. ഈ വിപ്ലവവും കേരളത്തില്‍ സൃഷ്‌ടിക്കപ്പെട്ടതിന്റെ ആധാരവും വൈദേശീയമാണ്‌. സ്വാതന്ത്ര്യസമരത്തില്‍ നെഹ്‌റുവിനെപ്പോലുള്ളവര്‍ ഇന്ത്യ കണ്ടെത്തിയതു നവോത്ഥാന മാനവീകതയിലാണ്‌; അതു പാശ്‌ചാത്യമായിരുന്നു. മാത്രമല്ല അബ്രാഹത്തിന്റെ വിശ്വാസത്തിലൂന്നിയ യഹൂദ-ക്രൈസ്‌തവ-ഇസ്ലാമിക മതപാരമ്പര്യത്തിലെ ഏക ദൈവവിശ്വാസവും ഏക മാതാപിതാക്കളും സൃഷ്‌ടിക്കുന്ന സാഹോദര്യം. ഈഴവരുടെ നവോത്ഥാനത്തിനിടയാക്കിയതും ആ പൊതു പൈതൃകത്തില്‍ നിന്നുതന്നെയുള്ള കമ്യൂണിസവുമായി ബന്ധപ്പെട്ടതാണ്‌.
ഈഴവ സമൂഹം ക്രൈസ്‌തവസഭയില്‍ ചേരുന്നതിനെക്കുറിച്ച്‌ ഒരിക്കല്‍ ആലോചിച്ചിട്ടുണ്ട്‌. പിന്നീട്‌ അവരില്‍ പലരും കമ്യൂണിസത്തിന്റെ കുടക്കീഴിലായി. ഇതൊന്നും അവര്‍ ഹൈന്ദവ മൂല്യങ്ങളില്‍നിന്നുണ്ടായ നവോത്ഥാനമായിരുന്നില്ല. ചാവറയച്ചനും മദര്‍ തെരേസയും ഭാരതീയ സമൂഹത്തില്‍ അത്ഭുതങ്ങള്‍ സൃഷ്‌ടിച്ചെങ്കില്‍ അതു ക്രൈസ്‌തവ മാനവികതയുടെ ഫലമാണ്‌.
മലയപ്പുലയനു വാഴക്കുലയ്‌ക്ക്‌ അവകാശം ഉണ്ടാക്കിയതും തോട്ടിയുടെ മകനു മനുഷ്യത്വം ഉണ്ടാക്കിയതും കമ്യൂണിസ്‌റ്റ്‌ മാനവദര്‍ശനം ചങ്ങമ്പുഴയും തകഴിയും ഉള്‍ക്കൊണ്ടതു കൊണ്ടാണ്‌. ഇതൊന്നും ഹിന്ദുത്വതയുടെ ഘര്‍ വാപസികൊണ്ട്‌ ഉണ്ടാകുന്നതല്ല.
സ്വതന്ത്ര ഇന്ത്യയില്‍ നവോത്ഥാന കാഴ്‌ചപ്പാടില്‍ ഈഴവരും ക്രൈസ്‌തവരും മുസ്ലിംകളും വളര്‍ന്നു. ക്രൈസ്‌തവ വിദ്യാഭ്യാസ സ്‌ഥാപനങ്ങള്‍ ഉണ്ടായി. ചാവറയച്ചന്‍ തുടങ്ങിയ പള്ളിയോടു കൂടിയുള്ള പള്ളിക്കൂടങ്ങള്‍ ക്രിസ്‌ത്യാനികളെ മാത്രം പഠിപ്പിക്കാനായിരുന്നില്ല. അവയില്‍ പഠിച്ചു ഹിന്ദുക്കളും ക്രിസ്‌ത്യാനികളും മുസ്ലിംകളും വളര്‍ന്നു. മുസ്ലിംകള്‍ ഇപ്പോഴാണ്‌ വിദ്യാഭ്യാസത്തില്‍ കൂടുതല്‍ തല്‍പരരായത്‌.
അടുത്ത കാലത്താണ്‌ ക്രൈസ്‌തവര്‍ പ്രത്യേകിച്ചു കത്തോലിക്കാ സഭ തൊഴിലധിഷ്‌ഠിത ഉന്നത വിദ്യാഭ്യാസ സ്‌ഥാപനങ്ങളില്‍ താല്‍പര്യം കാണിച്ചത്‌. സ്വാശ്രയ സ്‌ഥാപനങ്ങള്‍ കേരളത്തിന്റെ വികസനത്തിന്റെ നിര്‍ണായക കാല്‍വയ്‌പായിരുന്നു. സഭ സ്വാശ്രയ സ്‌ഥാപനങ്ങള്‍ തുടങ്ങിയതു പണത്തിന്റെ കൊഴുപ്പു കൊണ്ടല്ല, ഒരു സാമൂഹിക ആവശ്യം നിറവേറ്റുകയായിരുന്നു. അതുകൊണ്ട്‌ കച്ചവടം നടത്തിയെന്നും ന്യൂനപക്ഷാവകാശങ്ങള്‍ പണമുണ്ടാക്കാന്‍ ഉപയോഗിച്ചു എന്നുമുള്ള ആരോപണങ്ങള്‍ കടുത്ത സ്‌പര്‍ധയുടെ മാത്രമാണ്‌.
ഈ രംഗത്തേക്കു സഭ കടന്നു വന്നപ്പോള്‍ ടണ്‍ കണക്കിനു സ്വര്‍ണവും സമ്പത്തും കാക്കുന്ന ക്ഷേത്രങ്ങളൊന്നും ചെറുവിരല്‍ അനക്കാതെ ഭൂതം പൊന്നു കാക്കുന്നതുപോലെ കഴിയുകയായിരുന്നു. പണം മാത്രമുണ്ടായാല്‍ പോരാ, മനുഷ്യ നന്മയ്‌ക്കുപകരിക്കുന്ന കാഴ്‌ചപ്പാടുകള്‍ വേണം. കേരളത്തിന്റെ ഉപഭോഗ കമ്പോളത്തില്‍ ഈഴവര്‍ തീരെ ദരിദ്ര നാരായണന്മാരൊന്നുമല്ല. താഴേക്കു നോക്കാനും പഠിക്കണം. ഈഴവരെക്കാള്‍ അവശര്‍ കേരളത്തിലുണ്ട്‌. അവരില്‍ ക്രൈസ്‌തവരുമുണ്ട്‌. ദാരിദ്ര്യത്തിനും അവശതയ്‌ക്കും മതമില്ല. എല്ലാവരുടെയും പുരോഗതി പ്രത്യേകിച്ചു അവശരുടെ പുരോഗതിക്ക്‌ എല്ലാവരും പ്രാമുഖ്യം കൊടുക്കണം. അതു നീതിയുടെ പ്രശ്‌നമാണ്‌.
നാം പിന്നോട്ടല്ല പോകേണ്ടത്‌, മുന്നോട്ടാണ്‌. സമത്വം വരാനിരിക്കുന്ന ആദര്‍ശമാണ്‌, അതിലേക്കാണ്‌ നാം ഇനിയും യാത്ര ചെയ്യേണ്ടത്‌. അതിനു പിന്നോട്ടുപോയി ചാതുര്‍വര്‍ണ്യത്തില്‍ കുടിയിരിക്കാനല്ല ശ്രമിക്കേണ്ടത്‌. ഹിന്ദു ഐക്യത്തിന്റെ ഭാഷ സമത്വത്തിന്റെയോ ജനാധിപത്യത്തിന്റെയോ അല്ല. അവര്‍ വരുത്താന്‍ പോകുന്ന ഭരണം ജനാധിപത്യത്തിന്റെയായിരിക്കും എന്ന്‌ ഒരു ഉറപ്പുമില്ല. ക്രിസ്‌ത്യാനികളെയും മുസ്ലിംകളെയും അറബിക്കടലില്‍ താഴ്‌ത്തിയാണോ ഇവിടെ സമത്വം ഉണ്ടാക്കാന്‍ പോകുന്നത്‌? ജനാധിപത്യം ഒരു പ്രാര്‍ഥനയും ആഗ്രഹവുമാണ്‌. സകല മനുഷ്യരുടെയും സ്വാതന്ത്ര്യത്തിന്റെയും യുക്‌തിയുടേയും ബലത്തിലൂടെ സംജാതമാകുന്ന ജനാധിപത്യം. അതു സാധ്യമാകണമെങ്കില്‍ വെള്ളാപ്പള്ളിയെപ്പോലുള്ളവര്‍ ജനാധിപത്യത്തിന്റെ ഭാഷ സംസാരിക്കണം. അതു പ്രകൃതി തീര്‍ക്കുന്ന തലവിധിയുടെ ക്രമമല്ല. മനുഷ്യര്‍ക്കെല്ലാവര്‍ക്കും സാധിക്കുന്ന സാമാന്യബുദ്ധിയുടെയും സാംസ്‌കാരിക ഭാഷണത്തിന്റെയും പരസ്‌പര ആദരവിന്റെയും ജീവിതക്രമം.
ഖേദത്തോടെ എഴുതട്ടെ വെള്ളാപ്പള്ളിയുടെ ഭാഷ ഈ ജനാധിപത്യ സംസ്‌കാരത്തിന്റെയല്ല. ഭാഷയില്‍ സമത്വവും സാഹോദര്യവും കടന്നുവരട്ടെ. മതവും ജാതിയും നോക്കി സാഹോദര്യം നിര്‍വചിക്കാനല്ല ക്രൈ സ്‌തവനായ ഞാന്‍ പഠിച്ചിട്ടുള്ളത്‌. അതുകൊണ്ടാണ്‌ സാഹോദര്യത്തോടെ ഈ കുറിപ്പ്‌ എഴുതുന്നതും.

- See more at: http://www.mangalam.com/opinion/383929#sthash.FRKo87um.dpuf

Cock-and-bull story of fiduciary relationship by RBI in SC. This is nation's wealth to be safeguarded. If RBI can't manage this national responsibility, it should go.

March 30, 2016, 8:50 pm

≫ Next: Indus hieroglyphs on stone of Mayiladumpara

≪ Previous: A manifesto of Marxist-Mullah-Missionary axis. It is time for Hindus to wake up and counter this axis.

$

0

0

Print

Bad debts: RBI gives Supreme Court defaulter list, with confidentiality rider

Written by Utkarsh Anand | New Delhi | Updated: March 31, 2016 5:21 am

The RBI conceded before the court that it does not have information about loan accounts, involving Rs 500 crore or more, which were restructured before June 2014.

THE RESERVE BANK of India has submitted to the Supreme Court a list of defaulters owing Rs 500 crore or more to public sector banks just three months after the apex court ruled that the RBI is “clearly not in fiduciary relationship with any bank” and that it cannot hide information solely because of the embarrassment it may cause.

Read | Write-offs big fraud, give us defaulter list, orders Supreme Court

But while submitting the list, the RBI said it was “extremely necessary” to keep these names confidential due to their “fiduciary relationship”.

Read Full Coverage | The Great Govt Bank Write-Off

The RBI conceded before the court that it does not have information about loan accounts, involving Rs 500 crore or more, which were restructured before June 2014. It insisted, however, that disclosing the names of the biggest defaulters would dent the “fiduciary relationship” between the RBI and the banks, and between the banks and customers.

Read | Rs 1.14 lakh crore of bad debts: The great government bank write-off

“Disclosing personal information which is fiduciary in nature with regard to banks by a statutory body (RBI) would defeat the very purpose of having fiduciary responsibility on the part of banks. For these reasons, it is extremely necessary to keep the confidentiality of the information provided along with this affidavit,” said the RBI while submitting the list for the period between June 2014 and December 2015 in a sealed envelope.

RBI’s affidavit was filed in response to a reply sought by a bench led by Chief Justice T S Thakur, which had last month taken suo motu cognizance of The Indian Express report that Rs 1.14 lakh crore of bad loans had been written off by state-owned banks between 2013 and 2015.

The bench had ordered the RBI to share with it names of all defaulters who owe over Rs 500 crore and continue to lead a “lavish lifestyle”.

The RBI’s submission regarding “fiduciary relationship” with banks has already been rejected by the Supreme Court in its judgment on December 16, 2015.

The court ruled: “RBI is supposed to uphold public interest and not the interest of individual banks. RBI is clearly not in any fiduciary relationship with any bank. RBI has no legal duty to maximize the benefit of any public sector or private sector bank, and thus there is no relationship of ‘trust’ between them. RBI has a statutory duty to uphold the interest of the public at large, the depositors, the country’s economy and the banking sector. Thus, RBI ought to act with transparency and not hide information that might embarrass individual banks.”

However, the RBI has maintained that while sharing the details of defaulters with other banks may help them address “bad behaviour” of borrowers, putting such names in the public domain may dissuade legitimate risk-taking and investments by good and well-intentioned promoters.

“Disclosing details of accounts where defaults have been found irrespective of the reasons therefore may have adverse impact for business and in a way may accentuate the failure of business rather than nursing it back to health,” argued the RBI in its affidavit. It stated that the reasons for default could also be due to factors beyond the control of borrowers.

Bad loans, the RBI said, are written off in the books without forfeiting the right to recovery and that banks keep a record only for prudential and accounting purposes and not for indicating default.

The regulator’s response will be taken up on April 12. The bench had previously observed: “People are owing thousands of crore to the public banks. it is a big fraud. The top ten public sector banks have written off Rs 40,000 crore alone in 2015. It is all there in this Indian Express report. Public financial institutions are lending money despite knowing no returns. RBI is supposed to keep a watch on these banks. What are you doing about it?”

Asking the government and the RBI if they were “happy” to keep funding the entities that declare themselves as sick companies but lead “lavish lifestyle”, the bench had sought to know the steps being taken to recover the bad loans and fixed the matter for hearing in mid-April.

The court was hearing a PIL filed in 2003 by NGO CPIL regarding alleged irregularities in advancing loans by the Housing and Urban Development Corporation Limited (HUDCO) when its counsel Prashant Bhushan handed over The Indian Express report, pointing out that the problem of bad loans has assumed dangerous proportions.

On February 9, The Indian Express reported that an RTI response from the RBI had revealed that while bad loans stood at Rs 15,551 crore for the financial year ending March 2012, they shot up over three times to Rs 52,542 crore by the end of March 2015.

The government has been trying to shore up public sector banks through equity capital and other measures even as bad loans written off between 2004 and 2015 amounted to more than Rs 2.11 lakh crore. More than half such loans (Rs 1,14,182 crore) were waived between 2013 and 2015.

http://indianexpress.com/article/india/india-news-india/bank-defaulter-bad-debts-rbi-gives-supreme-court-defaulter-list-with-confidentiality-rider/99/print/

Indus hieroglyphs on stone of Mayiladumpara

March 31, 2016, 4:17 am

≫ Next: Kolkata flyover collapse, army to the rescue. Condolences to the bereaved families.

≪ Previous: Cock-and-bull story of fiduciary relationship by RBI in SC. This is nation's wealth to be safeguarded. If RBI can't manage this national responsibility, it should go.

$

0

0

Mirror: http://tinyurl.com/z7v8txw

A note on the orthography of the Mayiladumpara  inscription. Two photographs have been published 

so far in the Times of India and The Hindu.

Two hieroglyphs are 'fish' and 'star' are comparable to Indus Script hieroglyphs.

The two hieroglyphs are signified by the words: ayo, ayu'fish' and mēḍha'the polar star'.

The hieroglyphs are read rebus as metalwork catalogues  on many Indus Script inscriptions.

ayo, ayu 'fish' (Munda etyma) rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)

PS: If a 'fin' is also signified by the short linear stroke at the fish-tail, the word signified is
khambhaṛāʻfinʼ (Lahnda Punjabi)(CDIAL 13640) rebus: kammaṭṭam, kammiṭṭam coinage, mint. (Malayalam)(DEDR 1236).

मेढ (p. 662) [ mēḍha ] The polar star मेढेमत (p. 665) [ mēḍhēmata ] 

n (मेढ Polar star, मत Dogma or sect.)(Marathi) 

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.(Marathi). 

Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.)

Thus, the two hieroglyphs of Mayiladumpara may signify iron work.

Munda etyma related to ayo, ayu:

beḍa hako (ayo) ‘fish’ (Santali); beḍa ‘either of the sides of a hearth’ (G.) Munda: So. ayo `fish'. Go. ayu `fish'. Go <ayu> (Z), <ayu?u> (Z),, <ayu?> (A) {N} ``^fish''. Kh. kaDOG `fish'. Sa. Hako `fish'. Mu. hai (H) ~ haku(N) ~ haikO(M) `fish'. Ho haku `fish'. Bj. hai `fish'. Bh.haku `fish'. KW haiku ~ hakO |Analyzed hai-kO, ha-kO (RDM). Ku. Kaku`fish'.@(V064,M106) Mu. ha-i, haku `fish' (HJP). @(V341) ayu>(Z), <ayu?u> (Z)  <ayu?>(A) {N} ``^fish''. #1370. <yO>\\<AyO>(L) {N} ``^fish''. #3612. <kukkulEyO>,,<kukkuli-yO>(LMD) {N} ``prawn''. !Serango dialect. #32612. <sArjAjyO>,,<sArjAj>(D) {N} ``prawn''. #32622. <magur-yO>(ZL) {N} ``a kind of ^fish''. *Or.<>. #32632. <ur+GOl-Da-yO>(LL) {N} ``a kind of ^fish''. #32642.<bal.bal-yO>(DL) {N} ``smoked fish''. #15163..

S. Kalyanaraman

Sarasvati Research Center March 31, 2016

Indus inscription discovered 

at Mayiladumpara in Kannur

TNN | Mar 31, 2016, 10.53 AM IST

KANNUR: In a major finding in the epigraphic research in the state, epigraphist T Pavithran has claimed that he has discovered an Indus inscription dating back to 3500 and 1600 BC from Mayiladumpara in Maloor panchayat.His team of researchers has also discovered a rare Vattezhuthu and Brahmi script on the sword used in Kunnathur Padi, the aroodam of Sri Muthappan, in the forest areas near Srikandapuram.

"We discovered a five-letter Indus inscription on a rock in an Adivasi settlement in the forest. Though similar scripts were found earlier in other parts of the state, this is the first time it has been discovered in Kannur," said Pavithran, former head of the department of Malayalam and Kerala studies at Calicut University . He is presently the UGC Emeritus Fellow conducting research on epigraphic texts in Kerala and Sr Lanka.

According to the researcher, the script, written from bottom to top and right to left reads `Shadu-ei-ko', meaning a resolute king' in ancient Pali language.

He said the inscription reveals the possibility of pepper trade in the region. As per history , Lothal town in Guja rat was the most prominent city of the ancient Indus Valley civilization, which supplied ivory , gold, precious stones and pepper to hundreds of ci ties. This Indus script could be an indication that the people here were aware of the ancient trade route and this should be subjected to further research, he said.

He was informed of the inscription by three tribal youths, Ajeesh, Ragesh and Ashokan, from Maloor, when he was studying the inscriptions at Kunnathur Padi, said the researcher.

Interestingly, they also showed him the sword there, which had Vattezhuthu and Brahmi script on it, and the researcher is in the process of deciphering it.

"What is interesting is that the script shows that the sword was made many centuries ago. The blacksmiths here were aware of the technology of developing corrosion free iron even before the Europeans came here," he said, adding that further excava tion might shed light on many aspects of culture, civilization and trade in this area.

http://timesofindia.indiatimes.com/city/kochi/Indus-inscription-discovered-at-Mayiladumpara-in-Kannur/articleshow/51627124.cms

Published: March 28, 2016 00:00 IST | Updated: March 28, 2016 05:47 IST  KANNUR, March 28, 2016

Ancient Brahmi epigraphic text found

• Special Correspondent

An ancient Brahmi inscription found at Mayiladumpara in Kannur.

: An inscription found on a granite rock at Mayiladumpara in Malur panchayat here is said to be an ancient two-line epigraphical text that can be dated back to a period between 3500 and 1700 BC.

The inscription was discovered and deciphered by a team of epigraphy enthusiasts headed by P. Pavithran, former head of the Department of Malayalam Studies of the Kozhikode University, who is currently UGC Emeritus Fellow involved in research of epigraphical texts in Kerala and Sri Lanka. The discovery of this five-letter Indus inscription in an area known for its Adivasi settlement is a continuation of earlier finding and deciphering of such scripts in other parts of the region.

“This ancient Brahmi script is in Sabarpari style as it is written from bottom to top and right to left,” said Dr. Pavithran. He said he deciphered the script as a reference to a resolute ruler. The inscription is believed to be older than the inscription he found in the Maruthom forest area of Kasaragod, which, he said, was Boustrophedon style, and the scripts found at Edakkal in Wayanad.

Dr. Pavithran had earlier deciphered a coin inscription found from Madayipara and a two-line Brahmi inscription found at Makreri Subramanya Temple at Peralassery here. But it is for the first time that the Indus inscription has been found in the district. He says the inscriptions found in the region, especially in the tribal settlements, could be information meant for ancient traders who had used the route. More excavations are required to unravel the history of these ancient inscriptions in the region, he added.

These inscriptions are often mistaken for ancient drawings, he noted.

Mar 31, 2016 4:17:49 PM | 

http://www.thehindu.com/news/national/kerala/ancient-brahmi-epigraphic-text-found/article8404072.ece

Kolkata flyover collapse, army to the rescue. Condolences to the bereaved families.

March 31, 2016, 6:13 am

≫ Next: Prof Makarand Paranjape Responds To Maitreyee Shukla’s Open Letter.Commie, what is your problem? Go, study.

≪ Previous: Indus hieroglyphs on stone of Mayiladumpara

$

0

0

Print

LIVE Kolkata flyover collapse: 15 dead, will take stringent action, says Mamata

By: Express Web Desk | Kolkata | Updated: March 31, 2016 6:30 pm

A man is seen trapped amid the debris of an under-construction flyover after it collapsed in Kolkata. Reuters/Rupak De Chowdhuri

At least 15 people have been killed and around fifty injured after an under-construction flyover collapsed in North Kolkata near Ganesh Talkies (Girish Park), Thursday afternoon. Several are still trapped under the debris. The location of the bridge is in a densely populated locality in BarraBazar.

West Bengal Chief Minister Mamata Banerjee arrived at the flyover collapse site after cancelling a political rally for the upcoming state Assembly polls.

Rescue operations are currently under-way and eye-witnesses at the site feared at least a 100 people could be trapped under debris. The Indian Army and teams of the NDRF have been pressed into service.

Eyewitness said they heard a loud explosion and then a crashing sound. “A cloud of smoke emerged from the collapse,” they said.

Helpline Number: 1070

Kolkata Flyover Collapse – Click Here For Pictures |  All you need to know about the Kolkata flyover that collapsed

FLYOVER COLLAPSE LIVE UPDATES:

6.00 pm: “We will take stringent action, it’s a serious matter… negligence is a crime. Opinions of engineering experts will be taken in the matter,” WB CM Mamata Banerjee said, adding that her government will take care of all the expenses of all the injured.

5.50 pm: An update on the rescue operations – “Five NDRF teams are working with 268 personnel, they are trying to locate trapped victims. Three teams of NDRF are on their way, they will be reaching the site very soon”: OP Singh (DG, NDRF)

5.40 pm: At least 15 dead and over 50 have been injured in the flyover collapse, CM Mamata Banerjee said. She’s currently at the construction site overlooking rescue operations.

5.30 pm: CPI(M)’s Surjya Kanta Mishra urged Left workers to help officials in rescue operations. “Condole deaths and injuries to scores in flyover collapse in Kolkata. Calling upon CPI(M) and Left activists to help in rescue operation in flyover collapse. Mobilise to donate blood in hospitals.”

5.15 pm: Here’s what KP Rao of IVRCL Infrastructure — the company involved in the construction — had to say.

“Forty-five per cent of the work was left, one girder missed and the second one fell. It is nothing but God’s act,” Rao said.

This has never happened before, we are also in shock: KP Rao, IVRCL Infrastructure company on #Kolkata bridgepic.twitter.com/QFG8W9iG1e

— ANI (@ANI_news) March 31, 2016

5.00 pm: Rescue operations are still underway

Car being pulled out from the debris of the collapsed bridge near Ganesh Talkies in #Kolkata pic.twitter.com/IpgabS4XUd

— ANI (@ANI_news) March 31, 2016

4.40 pm: CCTV footage of Kolkata flyover collapsing (Click here if you’re using a mobile device)

4.35 pm: BJP says it’s a ‘clear case of corruption’

This is a clear case of corruption, there should be a CBI inquiry into this: MA Naqvi (BJP) to ANI on #Kolkata bridge collapse

— ANI (@ANI_news) March 31, 2016

4.15 pm: Prime Minister Narendra Modi, who is in Washington, has reacted to the collapse: “Shocked, saddened by collapse of under construction flyover. Took stock of the situation and rescue operations.”

My thoughts are with the families of those who lost their lives in Kolkata. May the injured recover at the earliest.

— Narendra Modi (@narendramodi) March 31, 2016

4.10 pm: ‘Not built during our time’ 

West Bengal CM Mamata Banerjee said at the flyover collapse site that construction of that flyover began in 2008, “during CPM time not our time”.

“Our main focus is to rescue those who are trapped”, Banerjee said, announcing instructions to police and rescue officials using a loudspeaker.

Our main focus is to rescue those who are trapped: Mamata Banerjee, announces instructions to police on loudspeaker@IndianExpress

— Aniruddha Ghosal (@aniruddhg1) March 31, 2016

3.50 pm: The West Bengal government has announced compensation of Rs 5 lakh for next of kin of the deceased, and Rs 2 lakh for the injured.

WB CM Mamata Banerjee at the spot where under-construction bridge collapsed near Ganesh Talkies in Kolkata.pic.twitter.com/1TBrjKuWjP

— ANI (@ANI_news) March 31, 2016

3.38 pm: Police sources have told PTI that eight persons were killed in the incident, while several others were injured. The death toll could go up, they said.

3.30 pm: The Indian Army has already deployed four columns of rescue personnel. There are three medical teams each comprising two Army ambulances, surgeons and nursing assistants. One Engineer team of the Army has also reached the flyover collapse site with special equipment.

3.25 pm: MoS Home Kiren Rijiju: “Our team is in contact with West Bengal. NDRF teams have been dispatched.
We will send more NDRF teams and para-military forces if necessary. The state government is already doing whatever is necessary, central forces are there to support, help and take part in rescue and relief operations.”

Kolkata flyover collapse: An under-construction flyover crashed in Kolkata this afternoon and at least 15 people are feared dead and over 50 injured. Here are the latest updates

3.20 pm: Ola Cabs won’t be charging peak fares and have increased the number of cabs in that locality.

3.12 pm: “More teams are being mobilised for accident spot in Kolkata, two teams have already reached there,” OP Singh, DG NDRF told ANI.

3.11 pm: Chief Minister Mamata Banerjee has arrived at the flyover site.

3.10 pm: ‘Extremely tragic’ says Congress vice president Rahul Gandhi

News of the collapse of a flyover in Kolkata extremely tragic. I hope rescue &relief ops reach those trapped and injured at the earliest

— Office of RG (@OfficeOfRG) March 31, 2016

//platform.twitter.com/widgets.js

3.02 pm: At least four people – one woman and three men – have been killed in the collapse, a police officer at Posta police station confirmed to The Indian Express. Around 35 people have been rushed to the hospital and at least a hundred are trapped under the debris.

Rescue operations underway for the collapsed under-construction bridge near Ganesh Talkies in Kolkata.pic.twitter.com/OkruPMHKem

— ANI (@ANI_news) March 31, 2016

2.48 pm: Home Minister Rajnath Singh is in West Bengal today

Here’s what Minister Singh had to say: “Deeply saddened to know that precious lives have been lost in the Kolkata accident.My heartfelt condolences to the families of the deceased. Spoke to DG NDRF who apprised me of the situation at the accident site in Kolkata. NDRF teams have been rushed to the spot for rescue ops.”

Spoke to DG NDRF who apprised me of the situation at the accident site in Kolkata. NDRF teams have been rushed to the spot for rescue ops

— Rajnath Singh (@BJPRajnathSingh) March 31, 2016

2.40 pm: Here’s what we know about the flyover

Vivekananda Road flyover is a Kolkata Metropolitan Development Authority (KMDA) project which was nearing completion. It is a Rs 164-crore project which the Left front government had initiated in 2007 to facilitate the movement of traffic as well as pedestrians in this busy and clogged stretch of the central business district in Burrabazar-Posta. The completion of the bridge was expected to ease the congestion of vehicular traffic as well as men moving from north and east Kolkata to Howrah.

It was learnt that right from inception, locals objected to its design as some stretches of the flyover crossed menacingly close to multi storied buildings,flanking on both sides of the existing road stretch. State government sources said that there was considerable pressure from the state urban development department to ensure speedy completion of the project.

Flyover in central Kolkata collapses taking umpteen lives. Political blame game will soon start. #incredibleindiapic.twitter.com/QqcFcmjLaR

— Harsh Goenka (@hvgoenka) March 31, 2016

There were some outstanding issue of land clearance to be given by the Kolkata Port Trust to the state government on the Howrah end of the flyover. But the issue was reportedly resolved after the intervention of the chief minister Mamata Banerjee and work was on full swing on the flyover for its speedy completion.

2.33 pm: Here are some images an eye-witness at the Kolkata flyover site has shared on Twitter

Some more pics of #Kolkata Girish Park Fly-over collapse. pic.twitter.com/IMoLph9aox

— TheGhoseSpot (@SandipGhose) March 31, 2016

Due to fly over collapsed avoid ganesh talkies…

— KP TRAFFIC (@kptraffic) March 31, 2016

2.24 pm: The Indian Army is also on its way to the construction site. Given this response we could well be staring at a massive rescue operation with several casualties.

2.20 pm: BJP wants ministers to be held responsible

BJP’s Kailash Vijayvargiya: “We want action to be initiated against the ministers and people associated. Mamataji’s government is responsible for this.”

2.15 pm: Images of a taxi crushed under the flyover

#Visuals Taxis buried under the debris of the collapsed bridge near Ganesh Talkies in Kolkata pic.twitter.com/rFfDXhecDp

— ANI (@ANI_news) March 31, 2016

2.10 pm: From our Kolkata Bureau – Heavy cranes were being moved to the accident site. But it would require dozens of heavy duty cranes to remove those gigantic iron and concrete structure. Some platoons of para military and disaster management forces have moved in but they could hardly move the collapsed structures.

2.08 pm: “Our team is on their way to the site with all required equipment, we are also pressing into service canines which will help find trapped people. We will start the operations as soon as possible,” an NDRF official told NDTV.

“As soon as we reach, we’ll reccee the site and begin operations soon.”

2.03 pm: TMC’s Derek O’Brien: “Monumental tragedy. Rescue ops on.Many feared dead. Chief Sec/Home Sec at site. CM headed back to Kol immediately.This is the update I have.”

Monumental tragedy. Rescue ops on.Many feared dead. Chief Sec/Home Sec at site. CM headed back to Kol immediately.This is the update I have

— Derek O’Brien (@quizderek) March 31, 2016

//platform.twitter.com/widgets.js

2.00 pm: Two units of NDRF being rushed to Ganesh Talkies area of North Kolkata to assist in rescue work

1.52 pm: Several police, rescue officials at the site

Desperate attempts being made to lift up fallen bridge near Ganesh Talkies in Kolkata pic.twitter.com/hmfoAAT5e4

— ANI (@ANI_news) March 31, 2016

1.50 pm:News reports suggest that concrete was added to the under-construction flyover only last night and locals complained that the bridge was shaking.

1.48 pm:“Sent shivers down my spine”

Eye witness says ‘it was a powerful collapse,sent shivers down my spine” after bridge collapses in Kolkatapic.twitter.com/s4igA6gXwH

— ANI (@ANI_news) March 31, 2016

//platform.twitter.com/widgets.js

1.45 pm: The BJP and the CPI-M demanded that the TMC government needs to be answerable for the flyover collapse. “It’s a reflection of corruption,” BJP’s Siddharth Nath Singh said. The flyover was right outside the election office of BJP’s Rahul Sinha.

WATCH: Rescue ops underway for those trapped under debris after under-construction bridge collapses in North Kolkatahttp://t.co/t96fZB3Qpr

— ANI (@ANI_news) March 31, 2016

Operations underway near Ganesh Talkies(Girish Park) in Kolkata after Under-construction bridge collapses,10 deadpic.twitter.com/ArPP4nv1z2

— ANI (@ANI_news) March 31, 2016

http://indianexpress.com/article/india/india-news-india/kolkata-under-construction-bridge-collapses-several-feared-dead-latest-updates/99/print/ 

Copyright © 2016 - The Indian Express [P] Ltd. All Rights Reserve
| Thursday , March 31 , 2016 |

15 killed in Calcutta flyover collapse, army to the rescue

Calcutta, Mar 31 (Agencies): A flyover under construction collapsed on Thursday on to vehicles and street vendors below, killing at least 15 people with more than 100 people feared trapped. The army was called out and rushed teams of surgeons with ambulances from its Eastern Command headquarters here, together with engineers and heavy-lifting gear. Initially, residents used their bare hands to try to rescue people pinned under a 100-metre length of metal and cement that snapped off at one end and came crashing down in a teeming commercial district near Girish Park. ”The concrete had been laid last night at this part of the bridge,” resident Ramesh Kejriwal told Reuters.  ”I am lucky as I was planning to go downstairs to have juice. When I was thinking about it, I saw that the bridge had collapsed.” Video footage aired on TV channels showed a street scene with two auto rickshaws and a crowd of people suddenly obliterated by a mass of falling concrete that narrowly missed cars crawling in a traffic jam. The Army had deployed five columns of rescue personnel at the site, together with four medical teams of doctors, nursing assistants and ambulances, and engineers with heavy-lifting equipment and gas cutters. Lt Gen Praveen Bakshi, the Eastern Army Commander, said the army would be there till the rescue operations are completed. Chief Minister Mamata Banerjee rushed to the scene. “We will take every action to save lives of those trapped beneath the collapsed flyover. Rescue is our top priority,” she said. Mamata said those responsible for the disaster would not be spared. Yet she herself faces questions about a construction project that has been plagued by delays and safety fears. The Telegraph reported last November that Mamata wanted the flyover - already five years overdue - to be completed by February. Project engineers expressed concerns over whether this would be possible, The Telegraph report said. The disaster could play a role in assembly elections due in the state next month. Earlier story: 15 feared killed in Calcutta flyover collapse, army to the rescue The operations director of IVRCL, the company building the flyover, said the company was not sure of the cause of the disaster. ”We did not use any inferior quality material and we will cooperate with the investigators,” A.G.K. Murthy told reporters in Hyderabad where the firm is based. “We are in a state of shock.” A coordinated rescue operation was slow to get under way, with access for heavy lifting gear and ambulances restricted by the buildings on either side of the flyover and heavy traffic. Police said that 78 injured had been taken to Calcutta Medical College Hospital after the disaster struck at around noon. “Most were bleeding profusely. The problem is that nobody is able to drive an ambulance to the spot,” said Akhilesh Chaturvedi, a senior police officer. Eyewitness Ravindra Kumar Gupta, a grocer, said two buses carrying more than 100 passengers were trapped. Eight taxis and six auto rickshaws were partly visible in the wreckage. “Every night, hundreds of labourers would build the flyover and they would cook and sleep near the site by day,” said Gupta, who together with friends pulled out six bodies. “The government wanted to complete the flyover before the elections and the labourers were working on a tight deadline ... Maybe the hasty construction led to the collapse.”  http://www.telegraphindia.com/1160331/jsp/frontpage/story_77500.jsp#.Vv0gNPt97IU Collapsed Kolkata flyover was in congested area TNN | Mar 31, 2016, 03.36 PM IST Collapsed Kolkata flyover was in congested area KOLKATA: Kolkata had one of its worst days today when a portion of an under-construction flyover collapsed in a busy north Kolkata neighbourhood, killing many people and leaving dozens injured and trapped under the debris. According to latest reports at least 17 people have been killed, and the casualties are expected to rise through the day. Several people were rescued from under the debris and were sent to different hospitals in the vicinity. Cutting short her campaigning visit to West Midnapore district, chief minister Mamata Banerjee rushed back to the city, came to the site and directed the speeding up of relief and rescue operations by the police, fire brigades and disaster management personnel. Several passenger vehicles, including a bus, were trapped under the debris. A PTI correspondent who was at the accident site, saw several severely injured people lying in pools of blood. People were also seen trapped under vehicles, concrete and heavy steel girders. Many hawkers operate under the flyover that is also used for parking vehicles. Large cranes and other rescue vehicles were pressed into service to clear the debris and bring out the injured. NDRF personnel were also rushed to the site to to assist in the rescue operations. The collapse occurred around noon at the busy Rabindra Sarani-KK Tagore Street crossing near Burrabazar, the trading hub and one of the most congested areas in the city. Television footage showed one bloodied body trapped under a concrete slab, and also the hand of a person sticking out from under twisted debris. "Monumental tragedy. Rescue ops on. Many feared dead," Derek O'Brien, an MP and spokesman for the ruling Trinamool Congress Party in West Bengal, tweeted. Home minister Rajnath Singh said he was monitoring the situation adding that he was "deeply saddened to know that precious lives have been lost in the Kolkata accident". An eyewitness at the scene described a loud bang "like a bomb blast and suddenly there was a lot of smoke and dust". "I looked at the other side of the road and people were screaming 'the bridge is collapsing'," the unnamed man told television networks. The Press Trust of India news agency, citing police, said one person was dead with an unknown number of others trapped. Kolkata is the venue of this Sunday's World T20 cricket final. Here are the helpline numbers: 1070, 033-22143526, 033-22535185, 033-22145664 State government has set up control room to help the public. Here are the numbers: 1070, 033-22143526/033-22535185/033-22145664. Fax:033-22141378 (With inputs from agencies)http://timesofindia.indiatimes.com/city/kolkata/Collapsed-Kolkata-flyover-was-in-congested-area/articleshow/51630985.cms 2:27 Under Construction Flyover Collapse in Kolkata | 14 Killed, 78 Injured | Mango News Mango News  2 hours ago 66 views An under-construction flyover in Kolkata collapsed, triggering fears of many being trapped under the debris. One girder of the ... NEW 4:23 Kolkata flyover collapses, many feared killed, others trapped NDTV  3 hours ago 167 views One person was killed and dozens more are injured after a flyover being constructed in the middle of Kolkata came crashing down ... NEW 1:16 Under-Construction Flyover Collapses in Kolkata, Many Feared Dead The Quint 3 hours ago 134 views Several people are reported dead and many others injured after an under-constructionflyover in Girish Park area in Kolkata ... NEW 5:21 Many feared dead in Kolkata flyover collapse, army joins rescue NDTV  2 hours ago 126 views At least one person was killed in Kolkata and dozens more were injured after a flyoverbeing constructed in the middle of the city ... NEW 3:48 Kolkata flyover collapses, many feared killed, others trapped NDTV India  4 hours ago 133 views One person was killed and dozens more are injured after a flyover being constructed in the middle of Kolkata came crashing down ... NEW 6:01 Flyover Collapse in Kolkata | 10 Dead and Many Trapped under Debris | V6 News V6 News Telugu  2 hours ago 96 views Under Construction Flyover collapse in Kolkata, 10 dead and many trapped under debris. V6 IOS App ▻ https://goo.gl/EfEqlJ ... NEW 1:37 1 Dead after under-construction flyover collapses in Kolkata NDTV  4 hours ago 109 views One person was killed and several injured as a flyover being constructed in Kolkatacollapsed on Thursday. Efforts are on to ... NEW 21:48 Under Construction Flyover Collapses In Kolkata ,10 Dead ET NOW  3 hours ago 131 views Many people are feared trapped under debris after an under-construction flyovercollapsed in a congested area in North Kolkata ... https://www.youtube.com/watch?v=iXmDnijfZVY Published: March 31, 2016 13:32 IST | Updated: March 31, 2016 18:08 IST  Kolkata, March 31, 2016 18 killed as a portion of unfinished flyover collapses in Kolkata Soumya Das Several passenger vehicles, including a bus, were trapped under the debris, as operations are on to clear the rubble. Photo: Special Arrangement Rescue work gets underway after the Vivekananda Road flyover in Kolkata collapsed on Thursday. Photo: ANI Under-construction bridge collapses in North Kolkata. Photo: Special Arrangement. Many of injured were rescued from under the debris and were being sent to different hospitals in the vicinity. At least 18 people were killed, and over 60 others as portion of a flyover that was under construction collapsed on a congested road intersection in Burrabazar area of Kolkata. The police said that 18 persons have died in the incident. State administration officials said 62 people have been injured and taken to hospital, while several others were feared trapped under the debris. Four columns of Army personnel (about 300 in number) alongwith with NDRF, State disaster management, city police and fire brigade personnel joined were involved in the rescue operations. “It is nothing but God’s act,” claimed Panduranga Rao of the Hyderabad-based IVRCL Construction company engaged in the flyover’s construction. “Stringent action will be taken against officials of the construction company and others involved,” Chief Minister Mamata Banerjee said. 'I heard a loud noise, everything went dark' Gopal Debnath, a survivor of the incident, was travelling from Howrah district in a Tata Sumo with three family members. "Around 12.45 p.m., I suddeny heard a loud noise and everything went dark. I lost consciousness," he said. He was rescued by the driver and received first aid from the locals. Photo: PTI Rajnath directive to NDRF Union Home Rajnath Singh has asked irector-General of the National Disaster Response Force (NDRF) O.P. Singh to send adequate rescue personnel to save all trapped people, official sources said. Mr. Singh is currently touring West Bengal to campaign for BJP candidates for the coming Assembly elections. They said the NDRF DG apprised the Minister about the steps taken so far. More... (With inputs from PTI) Printable version | Mar 31, 2016 6:49:10 PM | http://www.thehindu.com/news/cities/kolkata/flyover-collapses-in-kolkata/article8417691.ece

At least 18 people were killed in Kolkata on Thursday and hundreds were feared trapped when an under-construction flyover collapsed on to traffic on the street below. Rescue ops are on. Kolkata Helpline Numbers: 1070, 033-22143526 | 033-22535185 | 033-22145664

• Kolkata flyover collapse shocks nation: Who said what on tragedy
• The Kolkata flyover that collapsed never really took off
• In pics: Several feared trapped under collapsed Kolkata flyover
• WB govt will give report on West Bengal flyover disaster: Rijiju

Prof Makarand Paranjape Responds To Maitreyee Shukla’s Open Letter.Commie, what is your problem? Go, study.

March 31, 2016, 6:58 am

≫ Next: Hashimpura genocide -- HC notice to UP Govt. on Dr. Subramanian's plea for investigation of role of PC

≪ Previous: Kolkata flyover collapse, army to the rescue. Condolences to the bereaved families.

$

0

0

SNAPSHOT

Ms. Maitreyee Shukla, who appears to be prone to shooting off “Open Letters,” wrote one on 14 March 2016 against one of her professors at JNU, Dr. Makarand R. Paranjape.

Professor Paranjape refrained from issuing a rejoinder immediately for reasons he explains below, but when he did send it on 25 March 2016, let alone posting his response as fairness demands, he is yet to get a reply, even a word of acknowledgement from this avowedly Leftist portal.

R Jagannathan ‏@TheJaggi  2h2 hours ago

Brilliant and logical as always - Prof Makarand Paranjape Responds To Maitreyee Shukla’s Open Letter

March 31, 2016

Maitreyee-ji,

I hesitated to respond to your “Open Letter” when two of our students were still in custody; I didn’t want to further escalate the war of words or, indeed, to be further misunderstood in my own village. Also, I wasn’t sure that it behooved me to joust with you verbally; after all, it is the privilege of the young to rebel, misunderstand, even to reject what their parents or teachers stand for.

Each generation, moreover, has a right to discover it’s own values and beliefs; why should you be denied yours? But now that both your comrades are out on bail, thanks to the very same judicial system that they so vociferously condemned, writing back to you might be less unbecoming.

I still might have refrained had it not been for the ominous warning at the end of your letter: “History will not forget that at this critical moment, you chose not to stand with it.” I wonder if you noticed how the dire threat of Judgement Day of the Semitic faiths now reappears in your missive in the garb of damnation at the dread hand of History.

But what makes you believe that a call to arms, or failing which, punishment in the form of some version of eternal damnation, in the name of History is any less dubious than in the name of a jealous and unforgiving God? Do you consider yourself so perfectly guilt-free, to continue in the same theological idiom, not just to cast the first stone, but also to be judge, jury, and executioner?

I don’t think “History,” in whose name you pretend to speak, gives you quite so much authority. Naiveté, yes! – that you may be entitled to being young and idealistic, but omniscience and omnipotence, no! – for that is reserved only for the Deity that is History, authorized in the name of another Father, whether it be Father Marx, Father Lenin, or Father Mao, as the case may be.

That is why you need seriously to consider whom you mean when you say, “Not one of your arguments hold ground when tested logically and factually.” Perhaps, your remark is far more auto-biographical, if not auto-referential, than you think or realize.

Passion, political romanticism, even commitment and fellow-feeling do not really in themselves make good arguments, nor do letting off steam, espousing “worthy” causes, or shooting off indignant “Open Letters” without thinking through your positions clearly or carefully.

Being a sociology student, I am sure you are familiar with Durkheim’s idea of the malaise of modernity, which produces free-floating and rootless individuals consequent on the breakdown of social and religious norms.

Hannah Arendt, another well-known European thinker, argues that without a sense of belonging and purpose, such individuals become vulnerable to manipulation by ideologies because these give them a “spurious sense of meaning.” I am concerned about how these vulnerable young women and men are being used by political parties for their own purposes. That, Maitreyee-ji, is what I meant; tell me if this is logically fallacious or without foundation.

Similarly, when you accused me of reducing “the entire student movement across India to an attempt to ‘manufacture discontent,’” you are obviously wrong. I said no such thing. In fact, when asked by FirstPost, “Who is manufacturing this discontent?” I replied, “One shouldn’t pinpoint anyone without concrete evidence.” So when you say that I brand the entire student movement as manufacturers of discontent, surely you have not understood me. The manufacturers of discontent may be forces far more sinister, using gullible, idealistic, and impressionable students for their own purposes.

Now let me come to some of your other strictures. You say pork is not banned, while beef is. This is not, strictly speaking, true. Even if not officially banned, is pork served in JNU hostels? Or for that matter in any university mess in India? This means that there is self-regulation, if not a ban. But what about Kashmir? Is pork sold or served there? Muhammad Zahid writing in Greater Kashmir on 29 December 2009 observes, “The recent move by Srinagar Municipal Committee regarding ban on products having suspicion that pig fat (lard) might have been used in their processing was welcome indeed. The intention was purely religious that could safely be extended into the realms of spirituality.”

Please notice the language: even products having a suspicion of lard are banned, to speak of pork in all its various forms. But does this mean you should organize pork parties in Srinagar or even in JNU hostels? If you heard my interview properly, I clearly said that we should not do so because it offends the sensibilities of some of our fellow-citizens.

My argument against “beef festivals” is similar. The intent behind them appears to be mischievous and provocative, given that this is an intensely divisive issue, not only in today’s India but for hundreds of years. From the Buddha to Gandhi, several great Indians have taken a stand against the slaughter of animals. Guess who wrote the following words to whom:

The realm of Hindustan is full of diverse creeds. Praise be to God, the Righteous, the Glorious, the Highest, that He had granted unto you the Empire of it. It is but proper that you, with heart cleansed of all religious bigotry, should dispense justice according to the tenets of each community. And in particular refrain from the sacrifice of cow, for that way lies the conquest of the hearts of the people of Hindustan; and the subjects of the realm will, through royal favour, be devoted to you.

This was not some Hindutvavadi, but none other than Babur, India’s first Moghul emperor, writing his secret vasiyat nama to his son, Humayun in 1529. He had already issued a decree against cow slaughter in 1526.

In Independent India, from the directive principles of the Constitution right up to recent legislations, the state has discouraged the slaughter of cows. In all but eight states of the Indian Union, it is a cognizable offence. Yet, as I understand it, the law does not criminalise the consumption of beef by individuals. This is a humane provision that protects eating preferences.

Those who want cow slaughter to be legalized ought, in a democracy, try to change the law. They can lobby legislators, conduct a public campaign to convince Indians that beef-eating is desirable, and eventually, they might succeed. But is that what they wish to do?

Instead, they want to offend the sensibilities of those who find cow slaughter and beef eating abhorrent. The objection is to such politics, targeted at certain sections of the populace, with the view to fragment and divide society. If your beef-campaigners respect the Constitution of India and the law of the land, then they would not try to hold beef festivals, regardless of their private beliefs on the matter. Instead, their aim is to offend, provoke, and attack those who are against cow slaughter.

Now who are their targets? Mostly, Hindus: so the object is to offend them, foment hatred and unrest. This is what I object to. Aren’t Hindu-phobia and Hindu-bashing also undesirable, even if camouflaged behind politically (in)correct jargon?

The issue of the worship of Mahishasur is similar. As long as such worship is not intended to give offence but expresses alternate traditions, it is not objectionable. But when it is combined with the abuse of Goddess Durga, then it is bound to create hatred and divide society.

I agree that sex workers should be treated with dignity, but what is the evidence that the Goddess was one? Aren’t epithets synonymous with sex worker used to abuse and defame women? Don’t we stand up against such sexist insults? Don’t we consider them examples of the indignities that women suffer? Wouldn’t you be hurt and offended if members of your own family – let alone yourself – were so labeled? Wouldn’t you consider that to be in extremely poor taste, if not outright offensive? If so, would you blame devotees of Goddess Durga for being outraged at her being tagged with such a marker?

Political correctness, I am afraid, cannot mask wicked and harmful intent; it is the latter which is objectionable, not the former.

Let me come next to the similarly contentious issue of caste. I don’t believe that I have analysed or commented on the saddening suicide of Rohit Vemula, so why have you dragged me into a controversy, imputing all kinds of motives to me? The suicide of any young person in this country is a cause of great concern and introspection, but what we have here is an attempt to capitalize on it.

Again, I was referring primarily to political parities and leaders, who scrambled to take advantage of the situation. Instead of dousing the flames, several interested parties added fuel to the fire of caste hatred. This is what I find appalling.

The crisis in Hyderabad was many years in the making, with earlier flare-ups. I taught at the University of Hyderabad so can speak from personal experience. From the mid to late 1980s, the dominant line of “negative” politics was of local, which then meant Telugu, not just mulki or Telangani vs. non-local. I joined the HCU straight after my PhD in the USA, committed to serving my own country and society.

But what did I find? Bullies made up of so-called “locals” trying to influence decision making at every level, including recruitment, promotions, and important appointments. They had many ways of browbeating and neutralizing their perceived opponents, the “outsiders” who were to be put in their place. Such was the politics at a “central” university.

But soon there was another, even more dangerous, overlay of caste that overran regional parochialism. Unlike at JNU, there was no minimum cut-off for most subjects in the HCU entrance exams. The result was that in some disciplines, a person could get single digit marks, even theoretically a zero, but still be admitted, if a seat in a particular category remained vacant.

Once admitted, however, these educationally as well as socially disadvantaged students found themselves adrift. The institutional mechanisms to bring them up to par were inadequate. I have myself guided and trained some of them, so know how hard both the teacher and the student had to work.

Oftentimes that hard work was simply not put in. Instead, some of these students joined radical groups, which claimed to champion their rights, but also ending up targeting those who didn’t want to “cooperate” with their demands. Imagine that you were a teacher at such an institution with a name such as “Shukla.” You might find yourself doubly vulnerable as an outsider, a savarna with a hated Brahmin surname. You might be accused of being casteist if you didn’t pass a student whose performance on your exam was dismal. You might be accused of ruining his or her career if you refused to ensure that the student got the grade that was considered the minimum eligibility requirement to appear for the MPhil or NET exam.

To my recollection, none of these radical groups organized teach-ins, or coaching classes for their juniors, nor did they ever emphasize the intense hard work and wide reading required to do well in academics. Think of the message being sent out: to do well, you don’t have to study hard or learn real skills; instead, you need to belong to a particular community or caste, then join groups that would protect or promote your interests.

Even if things had stopped there, many would have considered it merely business as usual. But, no, the campus soon became a battleground of vicious and divisive caste hatred, with socially disadvantaged students being mobilized for other causes than social justice.

You may recall before the tragic incident that you referred to, an event commemorating “martyred” Kashmiri separatists was organized, which brought HCU to a standstill. It is this kind of divisive and destructive politics that I have spoken out against. Only to attack the Government is to turn a blind eye to what is happening in our own backyards.

Now to your last point about taxes, middle-classes, and the “laughable” comparison of JNU to IITs and IIMs. Once again, you have failed to go beyond your prejudices, which makes you unable to understand my point. I merely said that middle class, taxpaying citizens ask why should they subsidise “anti-nationalism.” I didn’t say they were right or wrong, only that you can’t blame them for thinking this way. After all, less than 3% of the population pays income taxes in India as opposed to about 45% in a country like the U.S.

Now, why should these Indians face only ridicule and demonization in return? Shouldn’t their concerns be respected? Along with income tax, an education cess is also levied. Why is it ridiculous to ask if that cess goes to paying for education or politicking and sloganeering at publicly funded campuses where academic standards are dubious, if not declining? I did not mean or suggest that middleclass taxpayers had special claims on the state; on the contrary, India belongs to all of us.

Anyone who participates in the organized economy does, as you rightly pointed out, contribute to the state exchequer. But does this mean that you castigate the middle classes for their values when they resist doling out unconditional support to causes that seem invalid to them?

That is why to offer dissent in the name of the poorest of the poor is bad logic and even worse ethics on the part of essentially middleclass students. This is merely to appropriate someone else’s victimhood for your own, some would say parasitical, privileges. These poorest of the poor, if you care to ask them, would be the first to urge you not to squander the opportunities of higher education, to study first and politic later. I have myself heard so many daily-wage earners, domestic help, and other marginal members of the JNU community complain, “In logon ko padhayi chhod kar aur sab karne hai; unke maa-baap par kay beetati hogi? Bachhon ko itni door padhane ke liye bhej rahen hain ki hangama karne ke liye?”

It is not that I agree entirely with such a view, but please don’t be under the illusion that the real subalterns of our society consider you either their representatives or champions.

To that extent, the comparison with IITs or IIMs is not laughable. These institutions also give research degrees, such as PhDs, even in Humanities and Social Sciences. Do you know that more often than not, their theses are far better than ours? That is because these schools are run more professionally, with greater academic accountability, and a better work culture.

In fact, the world over no university is respected or renowned without high academic standards, regardless of its degree of political engagement. The latter is in addition to, not a substitute for, the former. As to what you call “non-NET fellowships,” may I ask why you call them “fellowships” when they are given automatically to all students admitted to MPhil and PhD in central universities? And fees? Why call them fees when they seem to have no correlation to any economic factor, let alone the actual costs of education, seemingly frozen forever, neither going up with inflation or expenses to keep the university going? Why not just make JNU fee-free, scrapping them altogether, doing away with this pretense?

Best not to discuss these issues here, lest we betray the “poorest of the poor” deprived even of an opportunity to go to college or university? Don’t they need “fellowships” much more than most of us? What happened to Louis Blanc’s famous slogan De chacun selon ses facultés, à chacun selon ses besoins popularized by Marx as “From each according to his ability, to each according to his needs,” which is one reason that the middle-classes pay income taxes in the first place. Surely, by the same logic, many JNU students can afford to pay much more, indeed have paid ten times as much each month not only in school and college fees, but also in coaching classes to clear the JNU entrance tests. These same JNU students spend more for a single dinner at our own local 24x7 eatery than their monthly fees or hostel dues. So why should one size fit all when it comes to JNU?

Let me end by referring to your Postscript, in which you clarify that your “Open Letter” is not meant to bully me. I agree; I don’t feel bullied by you. But I do feel “othered.” You address me as an individual, but refer to yourself as “we.” I take it that it’s not the royal pronoun, but the presumed unity of purpose and ideology among those you stand with. You consider me ranged against this collective as this single individual, alone, isolated, and worthy of being chastised in your “Open Letter.”

Lest you persist in thinking so, let me remind you that in my very first intervention on the JNU crisis at the Sahitya Akademi on 19 February 2016, I clearly regretted the arrest of our students. In my Nationalism teach-in I started by saying that I stood for the autonomy of educational institutions and for statutory institutions both within and outside universities. In all my statements since, I have always spoken for due process, democratic norms, and the rule of law. When a well-known TV anchor asked why legal proceedings should not be initiated against an “anti-national colleague,” I stated that I would never support calls for such witch hunts, least of all against my own colleagues, even if I believed them to be wrong and disagreed with them. I am quite opposed to authoritarian and totalitarian ideologies, whatever their political colour, as I am to a democratic state repressing its own citizens.

Don’t you think we need to redraw the boundaries of “we”? Tell me who is the real “enemy” of JNU and India and who the real “friend”? The path of the unthinking rabble-rousers in JNU will lead to our ruin unless, of course, you believe it is only a pretend-politics. In contrast, my path will, I am convinced, improve, if not save JNU, by reducing divisiveness, discovering a new political idiom, and reinvigorating our academic ecosystem.

In this regard, am glad you mentioned Gandhi because he is at the very centre or heart of the “we,” of the nation and society that we are trying to build, foster, nurture, and protect. He said, “it will be your duty to tell the revolutionaries and everybody else that the freedom they want, or they think they want, is not to be obtained by killing people or doing violence, but by setting themselves right, and by becoming and remaining truly Indian.” Don’t you think this applies as much to all of us as to the so-called revolutionaries in our midst? Why not try to set ourselves right before attacking others?

There are millions in India who work harder than most of us in JNU; they do so, moreover, with fewer rewards or benefits. It is such people who make this country viable, not the agitators and naysayers, who sow division and discord amongst us for their own selfish and cynical political and pecuniary interests. Maitreyeeji, don’t you think it is the latter that history will not forgive?

• FeKhujili • 11 hours ago

  What a fantastic reply.
  JNU does not deserve a professor like Paranjape.
  Or
  May be they NEED him. It's time professors like Paranjepe stand up and take a stand and "teach" students.
  • Mandar Joshi  FeKhujili • an hour ago

    Well said
• Hridoy Chaliha • 11 hours ago

  epic.. Professors arguments are spot on!
• Sankar • 10 hours ago

  We are blessed that we still have professors like Paranajape in our midst. There is still hope for us
• srikanth santhanam • 9 hours ago

  Extremely well read man and a very balanced response. One shud listen to his talk after the JNU slogan fiasco and Kanhaiyaa's release. Excellent speech inspite of being heckled.He brought out points on Stalin and Mao's days and oppression . Nobody had any response , ppl just side stepped the same. JNU is a leftist den when the celebrated leftist countries have deserted the ideology
• ADA • 9 hours ago

  This is written with epic proportions. I can't yet believe so well crafted yet WELL INTEDED missive has been written by a JNU professor. Let kudos pour in !! A missive noone should miss.
• PV • 11 hours ago

  Dear Swarajya Mandarins....You mentioned dates of letters to be from May 2016 which is yet to come to pass. Please correct unless your staff has acquired clairvoyant powers to look into the future.
  • thesteelguy  PV • 10 hours ago

    lol
• Shubhangi Raykar • 3 hours ago

  Makarand Paranjape, I appreciate your cool headed rebuttal and it appears very cogent and cohesive. I had met you in 1989 Triennial conference at Canterbury. But you were a young professor then and not at JNU
  But you have matured beautifully.
• Ramusha • 4 hours ago

  Many many thanks Prof Makarand Paranjpe, I am very glad that the good "WE" have stood up to the evil "we" through Swarajya while the evil"we" enjoys the print and TV monopoly, these days. The learned Panditji (I prefer to call an erudite scholar Pandiji instead of Professor because these days JNU Professors have tarnished that word) has rightly addressed many issues that plague our Universities because of their take over by the so called "wes" since Nehruvian times. Its time our Temples of Knowldeged are freed from the clutches of these negative forces. The right thinking people must strengthen the hands of the Modi Govt for bringing about the changes in the country not only in the field of education but also in many more areas.
• Saraswathy Rajagopalan • 4 hours ago

  Excellent rebuttal. At last a sane voice from JNU.
• mohanrr • 7 hours ago

  Without being bitter or angry and also teaches along the way. Only a true teacher can give such a perfect reply. Take a bow, sir.
• Venugopal • 7 hours ago

  Well written response..Well done Prof..
• RY Deshpande • 8 hours ago

  This says all: — There are millions in India who work harder than most of us in JNU; they do so, moreover, with fewer rewards or benefits. It is such people who make this country viable, not the agitators and naysayers, who sow division and discord amongst us for their own selfish and cynical political and pecuniary interests.
• Sahana • 8 hours ago

  Prof. Makarand Paranjape has a new fan! Take a bow sir. Its a brilliant post! And so calmly argued.
• Hari • 8 hours ago

  Stinging letter to those "blind revolutionaries" (aka "we") ..
• untildnextFPban:) • 8 hours ago

  Too good Prof, salute your courage to speak against the "collective conscience" of the left -faux liberal scum specially as you are staying in their den and the vicious vindictive cabal of both students and profs, actually has the power to destroy your career or make u r life unpleasant, as is their practice with anyone with an alternative view point! A tight slap to the pretentious witch who wrote to you, that too in such a polite manner !! Unfortunately won't make an iota of a difference to the recipient and her fellow zombies !!
• pmohan • 9 hours ago

  "The bad part is that the present state is continuously raking the hornet’s nest." 
  "then it was the suicide of Rohith Vemula and then the crackdown at JNU." 
  "So you see, you are right that a certain discontent is being manufactured, but it is not from the side of students, the state itself is manufacturing it."

  It is ironic that Maitrayee Shukla who makes the above statements as axioms should accuse anyone else of bias. Her proof for the state "raking the hornet's nest" is the suicide of Rohith Vemula and the "crackdown" on hapless students of JNU who were raising innocuous slogans for breaking India into pieces with some outsider maoists and jihadis.
• Neville N • 6 hours ago

  Very well argued. The usefullness of such exchange of letters even though limited, is important in a democracy. I say limited because of the fundamental differences between the leftist and the rightist pov. Unless the public is mindful of this, any amount of discussion is futile.

  First is the means for change. Leftists prefer complete breakdown of all established norms of society and nation to build a new one based on equality while people on the right prefer incremental changes to establish that utopian equal society. This is why leftists never fail to incite class wars between different strands of a community.

  Second, most leftists are 'obligatory reductionists' in that they can only look at issues in a reductionistic manner. From this arises calls for eg. Kashmiri independence as a legitimate right of its people. But the nationalist while recognizing some kashimiri's yearning for 'freedom' has a more holistic picture of its consequence namely an inevitable invasion by pakistan, its army looking down into Indian Punjab etc.

  With such basic attitudinal differences, how much of convincing on superficial issues will bear fruit?
• Ratan • 10 minutes ago

  Professor Paranjape's epic reply has left me dazed.
• Vajrapani • an hour ago

  Nice reply, Prof. Paranjape. Also saw the "open letter", it looks rather intentionally naïve. May be targeting gullible youth. There are not many people in India who are convinced about the "free speech"ness of espousing the "martyrdom" of terrorists. That is exactly the asymmetric warfare that our neighbor is engaging us in! So these people who are commemorating the "martyrdom" of convicted terrorists are seen as the extended/local arms of alien entities waging war with our nation. And no taxpayer, whether direct or indirect taxes, would like our students to be lured into this proxy warfare of bleeding India with a thousand cuts.
• Govinda • 3 hours ago

  Overall I liked the response which is written without prejudice. But some places I felt the professor was apologetic about his views. I might be wrong but while reading felt there is a hint of apology with some of the statements.
• TSN • 3 hours ago

  Awesome
• Jay • 4 hours ago

  Awesome Reply by Prof...
• amartya • 4 hours ago

  awesome reply.
• Shyam • 4 hours ago

  Hope more people like Paranjape get inside JNU
• Nandini • 5 hours ago

  Excellent reply. I had never heard of prof. paranjape before this JNU episode. Where are all such professors of my country? Why don't they speak more? Why dont they join debates in TV?
• Ergo • 5 hours ago

  //tell me if this is logically fallacious or without foundation.//

  I have read up to this sentence. Will read entire after sometime.

  The Prof in his IE article quoted a western anthropologist. Here he is quoting two Western sociologists. He is not just quoting them; but endorsing their theories as well and holding up them to all of us as valid ones. Then, he raises the question: Is this logically fallacious or w/o foundation?

  Yes, if seen from outside your world. Why? Because if you accept a western or eastern thinker's views on certain matter, don't expect all should follow you like the rats following Pied Piper to their perdition.

  For you, these western thinkers are icons who lay the foundation atop which you construct your life or value system. Why to for all? In fact, Durkheim was harshly criticised for many of his theories on society. And, the hindutva rejects the famous German sociologist Max Weber and all western Indologists. Our Prof of English seems to be madly in love with western thinkers.

  Therefore, your question is fallacious and the foundation is an illusion.

  Assuming he thought it fit to quote sociologists, that too, western, as he was replying to a sociology student, still he is wrong. A discerning sociology students don't swallow all thinkers hook, line and sinker. They are eclectic. Here, the sociology student who wrote the scathing Open Letter to him, is a leftist. Durkheim is not in the good book of the Leftists. He is rather a darling boy of all Right Wingers.
  • PV  Ergo • 40 minutes ago

    Boring as usual. This sentence is silly nonsense "Why to for all"? Never read half and then post a comment. Read and read again. Then, sprinkle your gems else do not comment. Half-read article leads to a half-baked understanding and a half-cooked commentary.
  • Vineet Menon  Ergo • 4 hours ago

    Paranjape is not a BJP/RSS/Whateva spokesperson. Hindutvawadis give the basic freedom of free thinking unlike commies. Hindutvawadis or it's sympathizers can chose their ideologies from anywhere they deem fit. Simply because majority of them hate Weber (I don't find them at fault for hating Weber, though) or Marx, shouldn't mean prof. cannot use their quotes!
• Ergo • 5 hours ago

  Seems he has chosen this mag to reply to the Open Letter. Unless the letter writer is a student of English in JNU, she cannot be called his student. This Prof is a teacher of English literature in JNU. He would have sent his response to the same mag where the Open Letter is appearing. Or, has he sent and have they refused; and then, sent it here? I don't know. His argument against the students appeared in IE and only his interview here.
  • Vineet Menon  Ergo • 5 hours ago

    ..and you are implying?
• Anannya • 6 hours ago

  Brilliant reply... Thank you Professor for saying what we wanted to say but couldn't articulate so long.
• jack • 6 hours ago

  This news still is not there any where in major newspaper, it shows how biased media is
• jack • 6 hours ago

  What a response ,bravo.Kudos .Feel prod that not all intellectual(or some one who like himself to be called by that term) are anti hindu.Thank you so much sir
• SuchindranathAiyer • 8 hours ago

  Maithreyi Shukla and her sort comment from a super structure created by the British and their PANGOLIN* stooges that has no basis in truth. I. therefore, cannot respond to their comments in any manner other than dismiss such opinions as the natural product of the fabric of lies created after the Moslems convinced the British that the Brahmins inspired the Mutiny (1857) leading to the massacre of the Brahmins, man, woman and child, in the erstwhile Bengal Presidency (Bangla Desh, Bengal, Bihar, Jharkhand) and the United Provinces, and the persecution of Brahmins elsewhere by such means as the notorious Anti-Brahmin communal Gazetted Order 613 of 1923 promulgated in the Madras Presidency. 1923 was when the British confiscated the temples, treasure, water bodies, grazing and agricultural lands, educational institutions, other common wealth and religious freedoms of the People of Dharma (those who adhered to Aryan (Brahmin) Law). The East of India has yet to recover from the genetic and cultural vacuum created by this. Nor will the South of India from the" Brain Drain" fiercely accentuated by Anti Brahmanism and Sanskrit Culture after 1947. What is "Hinduism" today? A thousand cult lumpen of agnotologies that the British manufactured to stuff into the hole they created by eradicating Brahmanism including such grotesque latter day inventions as Arya Samaj, Brahmo Samaj, Ramakrishna Muth, Gandhism, Gitaism, Marxism, High Courtism and Supreme Courtism and, those that repudiated Sanskrit and the Aryan (Brahmin) Laws whom the British named as Dalits in 1921, Dalitism. In 1949, the Indian Constitution turned the People of Dharma into Third Class Citizens and in 1959, confiscated their temples, treasure, water bodies, grazing and agricultural lands, educational institutions, other common wealth and religious freedoms of the People of Dharma (those who adhered to Aryan (Brahmin) Law) in whatever remained of India. They then created Institutions like Constitution, laws, courts, universities, and farcical notions such as democracy (without equality under law), secularism (with exceptions to the rule of law on the basis of religion, caste, tribe and so on) and "Many Nations (on the basis of religion) and, of course, JNU. *Note: PANGOLIN: An enemy of India who believes in inequality under law, exceptions to the rule of law and persecution of some for the benefit of others. At present, the sole purpose of the Indian Republic, Constitutional or otherwise, is to pamper and provide for certain constitutionally preferred sections of society who the British found useful to hold and exploit India at the cost of those who the British hated and persecuted. The Pangolin is a creature that is unique to India and feeds on ants that are known in nature to be industrious and hard working if not quite as fruitful as bees who flee to better climes. (PANGOLIN is an acronym for the Periyar-Ambedkar-Nehru-Gandhi-Other (alien) Religions-Communist Consensus that usurped the British Mantle and has worn it with elan to loot, plunder, and rape India since 1921 and re write History and laws to their exclusive benefit since 1947)
  • Shyam  SuchindranathAiyer • 4 hours ago

    Wow Sir....Quite a bit of information..... But do we have any chance of reversing this trend? I am very very doubtull unless Kalki Avatar happens... What do you think
    • SuchindranathAiyer  Shyam • 4 hours ago

      Only through violence because the PANGOLIN lumpen and the so called "Hindus" form a majority that will not allow the restitution of religious properties and rights to the People of Dharma or the expurgation of inequality under law and exceptions to the rule of law from India's grotesque Constitution and laws.
    • http://swarajyamag.com/politics/prof-makarand-paranjape-responds-to-maitreyee-shuklas-open-letter#.Vv0QlKRcz4Z.twitter

Hashimpura genocide -- HC notice to UP Govt. on Dr. Subramanian's plea for investigation of role of PC

March 31, 2016, 7:32 am

≫ Next: An ever-looser union. Can Europe survive its current crises? -- Stewart Patrick

≪ Previous: Prof Makarand Paranjape Responds To Maitreyee Shukla’s Open Letter.Commie, what is your problem? Go, study.

$

0

0

SUBRAMANIAN SWAMY FOR PROBING P. CHIDAMBARAM’S ROLE IN HASHIMPURA MASSACRE

by NARADA DESKMARCH 31, 2016

Bharatiya Janata Party (BJP) leader Subramanian Swamy has now trained his guns at senior Congress leader P Chidambaram. The BJP leader has now  asked the Delhi High Court to direct the Uttar Pradesh police to probe the role of Congress leader P. Chidambaram, who was union minister of state for home at the time of 1987 Hashimpura massacre.

Swamy told the division bench of Justice G.S. Sistani and Justice Sangita Dhingra Sehgal that Uttar Pradesh Police should investigate all aspects in the case.

“It’s a case of genocide,” said Swamy. He claimed that according to newspaper reports, “Uttar Pradesh government has started destroying documents relating to the case”.

Forty-two people were killed in Hashimpura village in Meerut district of Uttar Pradesh on May 22, 1987, when they were allegedly shot by the Provincial Armed Constabulary (PAC) personnel and their bodies were thrown into a canal.

Swamy in his appeal challenged the trial court’s March 8, 2013, decision dismissing his plea to probe the role of Chidambaram in the case.

The court was also hearing a bunch of other appeals filed by National Human Rights Commission (NHRC), the Uttar Pradesh government as well as survivors and kin of the victims against the acquittal of 16 PAC personnel on March 21 last year.

The bench asked the Uttar Pradesh government to file documents related to the case as sought by the NHRC and also to file reply on the pleas. The matter has been posted for May 19.

During the hearing, Swamy said that there should be court-monitored CBI probe into the case. The court, however, said that additional application would unnecessarily delay the case.

On March 21 last year, a trial court here gave the benefit of doubt and acquitted 16 former PAC personnel, saying lack of evidence has failed to establish their identification. (IANS)

http://naradanews.com/2016/03/subramanian-swamy-for-probing-p-chidambarams-role-in-hashimpura-massacre/

Hashimpura case: HC seeks UP govt response on Subramanian Swamy's plea

By PTI | Mar 31, 2016, 06.58 PM IST

Post a Comment

ET SPECIAL:Love visual aspect of news? Enjoy this exclusive slideshows treat!

NEW DELHI: Delhi High Court today sought the Uttar Pradesh Government's response on BJP leader Subramanian Swamy's plea seeking further probe to ascertain the alleged role of P Chidambaram, who was Minister of State for Home during the 1987 Hashimpuramassacre that had claimed 42 lives. 

A bench of justices G S Sistani and Sangita Dhingra Sehgal also sought replies of all 16 acquitted police persons on appeals by state of UP, National Human Rights Commission (NHRC) and some private parties including Zulfiqar Nasir, a survivor of the massacre, against a trial court's order. 

The trial court had acquitted the accused policemen of charges of murder and other alleged offences in the case. 

The bench has listed the matters for hearing on May 19. 

In its plea, NHRC has sought further probe into the massacre in the Hashimpura locality of Meerut. Prior to NHRC, UP government as well as survivors and kin of the victims had moved the court challenging the acquittal of these policemen. 

In his plea, Swamy has also challenged the trial court's March 8, 2013 decision dismissing his plea against Chidambaram, who was the Minister between 1986 and 1989. 

Swamy has sought further probe saying, "It was admitted on the floor of Parliament by the then Minister of State for Home Affairs P Chidambaram that the situation was calm on May 19 to May 22, 1987. 

"Yet the trial judge states it was violent strife. Hence, even at this late stage, an investigation into this issue is essential for complete justice." 

The trial court had in March 2013 dismissed Swamy's plea for further probe to ascertain Chidambaram's role in the incident, saying he has no locus standi and it is only the police which can move an application for further probe. 

On March 21 last year, a trial court gave the benefit of doubt and acquitted 16 former Provincial Armed Constabulary personnel accused of killing 42 people in Meerut, saying lack of evidence has failed to establish their identification. 

Nineteen people were named as accused and charged for offences of murder, attempt to murder, tampering with evidence and conspiracy were framed against 17 of them by the court here in 2006, after the case was transferred to Delhi on a Supreme Court direction in September 2002 following a petition by the families of the massacre victims and survivors. 

The 16 accused acquitted in the case are the ones still alive. Three other accused died during the trial.

http://economictimes.indiatimes.com/news/politics-and-nation/hashimpura-case-hc-seeks-up-govt-response-on-subramanian-swamys-plea/articleshow/51633890.cms

---

An ever-looser union. Can Europe survive its current crises? -- Stewart Patrick

March 31, 2016, 8:10 am

≫ Next: Heralding Civilization Bronze Age metalwork heritage. Continuity of Indus Script cipher tradition traced into Punch-marked coins dated ca. 6th cent. BCE

≪ Previous: Hashimpura genocide -- HC notice to UP Govt. on Dr. Subramanian's plea for investigation of role of PC

$

0

0

Home > An Ever-Looser Union

---

Tuesday, March 29, 2016

An Ever-Looser Union

Can Europe Survive Its Current Crises?

Stewart Patrick

Stewart Patrick is the senior fellow and director of the program on International Institutions and Global Governance (IIGG) at the Council on Foreign Relations.

The European Union is locked in a perpetual state of crisis management. It has had to head off the collapse of the eurozone [1], deal with waves of undocumented migrants [2], and now come to terms with a renewed terrorist threat [3], underscored by the recent attacks in Brussels. On top of all this, the EU confronts the real possibility [4] of a British exit, or Brexit [5], which depends on the outcome of a public referendum in the United Kingdom in June. The European idea, which has helped to inspire the continent’s integration since World War II, may be the next casualty.

Over the past seven decades, European political leaders have seized on crises to propel European integration forward, advancing toward the goal of “ever-closer union” that is codified in the 1957 Treaty of Rome. But they have not been able to do so with the latest challenges, which have revealed practical tensions and unresolved contradictions in the European project. They have exposed European integration to be an elite-driven endeavor lacking adequate democratic legitimacy, and the EU itself as an awkward and unsustainable halfway house between intergovernmentalism and supranationalism—that is, between a loose cooperative arrangement in which states retain full independence and a federal union in which they transfer those national authorities to a superior central body. Europe’s chaotic response to recent events suggests that when push comes to shove, national sovereignty will trump European solidarity.

EVER-CLOSER UNION

The so-called European idea is a cosmopolitan vision of a united Europe. Its antecedents go back centuries, but it emerged in full force following World War II, which had discredited nationalism and the nation-state throughout most of Europe. Early expressions of the European idea could be found in 1949 in the Council of Europe and in 1951 with the creation of the European Coal and Steel Community (ECSC). The onset of the Cold War—as well as vigorous U.S. support for European unity—gave the efforts an important geopolitical boost.

Even among elites, however, there has never been a single idea of Europe. That seemed not to matter as long as the general trajectory—however incremental and uneven—was toward ever-closer union, inspired in part by Jean Monnet, the French political economist and diplomat. His vision of an increasingly federal, even supranational, Europe included horizontal ties among member states and vertical relationships of authority that subordinated European states and citizens to Europe-wide institutions.

To that end, from 1945 onward, European leaders have repeatedly exploited crises to advance integration. In May 1950, for example, Monnet used the specter of German economic and political resurgence and the deepening Cold War to persuade French Foreign Minister Robert Schuman to announce the European Coal and Steel Community, an international organization meant to unify a group of countries in continental Europe. By pooling the continent’s coal and steel production and placing it under a common authority, Monnet reasoned, Europe could peacefully harness Germany’s economic dynamism and demographic potential, which might otherwise undermine Europe’s fragile peace. The ECSC would also hasten the continent’s recovery and emergence as a unit capable of acting alongside (and even separately from) the United States in the face of the Soviet menace. Monnet’s genius was to transform the commanding heights of industry from weapons of war into instruments of peace.

The Treaty of Rome, which aimed to integrate Europe economically, was also born of crisis. During the early 1950s, several western European countries struggled mightily to create a European Defense Community that would unite their military might. Despite strong U.S. pressure, the EDC initiative failed catastrophically in 1954. Monnet responded by founding an “Action Committee for the United States of Europe [6],” which sought an indirect approach to overcoming European sovereignty. European leaders went along, focusing not on defense integration but on the less controversial economic goal of creating the European Economic Community (EEC). Yet the treaty provisions agreed to in Rome anticipated a gradual expansion of supranationalism. As nations became increasingly linked through practical cooperation, the theory went, a new European identity would inevitably emerge. But this approach ignored the desires of European publics. By the 1960s, it was no longer clear that people could easily transfer their loyalties from the nation-state to Europe.

In the 1980s, European elites again seized on a moment of panic to establish a single European market and codify foreign policy coordination among its members. A combination of oil shocks, recessions, and policy blunders seemed convincing enough evidence that Europe was falling behind economically. The Single European Act, passed in 1986, committed EEC countries to dismantle by 1992 border controls for trade, workers, and citizens. It also linked the idea of “Europe” to a set of 275 technical provisions to harmonize regulations related to transport, health, public procurement, currency controls, and the like.

In 1989, when the sudden opening of the Berlin Wall raised the inevitability of German reunification, German Chancellor Helmut Kohl and French President François Mitterrand took decisive steps to bind Germany into Europe. The resulting 1992 Maastricht Treaty, which formally created the European Union, began the countdown to a common currency and central bank among the (now) 19 countries of the eurozone.

AN UNGAINLY HYBRID

The eurozone meltdown and the more recent migration crisis have exposed the EU as deeply flawed [7]. After years of flailing, eurozone countries have restored some stability to the currency bloc, including by creating a banking union [8]. But European leaders have yet to address the fundamental contradiction between the existence of a monetary union, on the one hand, and the retention by member states of national fiscal policy authority—an arrangement that poses enormous limits on the bloc’s ability to respond to financial and economic problems.

The ongoing wave of migration to Europe, which shows no sign of abating, has likewise exposed the EU as an ungainly hybrid, something more than a loose confederation of sovereign states but something less than a political union. The resulting contradictions have been clearest with respect to the Schengen area, which includes nearly all EU states (and a handful of others). Schengen, widely considered to be one of the bloc’s proudest achievements, permits the free movement of people and goods within its boundaries. And yet its members lack a common federal system to control the area’s external borders, with no common coast guard or customs agency and no single agency to process asylum claims of refugees.

The federalist version [9] of the European idea was premised on the notion that cooperation among states would breed a common European identity alongside, and ultimately supplanting, national loyalties. But this prospect is still distant in a heterogeneous bloc of 28 nations with diverse histories, values, and experiences. Although past crises have led Europeans to join forces against external threats, today they blame one another [10] for creating—or at least abetting—them.

When German Chancellor Angela Merkel threw out the welcome mat for Syrian refugees last summer, she invoked the humanitarian ideals of the EU. But she quickly provoked resistance from eastern European neighbors, who do not share Germany’s sense of historical responsibility or western Europe’s (admittedly mixed) experiences with large populations of overseas immigrants. She also faced resistance from sovereignty-minded EU members—not least the United Kingdom—to the idea of a mandatory “quota formula” for apportioning the refugee burden. The November 13 terrorist attacks in Paris further undermined prospects for a unified response. Predictably, EU states have renationalized their borders [11], playing an unattractive game of “pass the migrant.” By January, European Council President Donald Tusk warned [12] that Schengen was on life support.

On March 18, in a desperate bid to save Schengen, EU negotiators reached a bargain [13] with Turkey, through which the vast majority of migrants transit. Turkey will take back new migrants landing in Greece, provided the EU agrees to accept one Syrian asylum applicant for every Syrian returned to Turkey. Even this reprieve may prove temporary, however. UN High Commissioner for Refugees Filippo Grandi has blasted the deal as a violation of international law. And it remains unclear whether EU member states are prepared to assume an equitable share of the refugee burden.

As if the eurozone collapse and migrant surge were not enough, the real possibility of Brexit poses another serious threat to the survival of the union. The United Kingdom has always been ambivalent about its relationship to the continent. It was late to the party—joining the EEC only in 1973—and has always been more comfortable with the EU’s free market than its political solidarity. But the country now appears seriously disillusioned. Twenty-five years ago, Prime Minister John Major declared [14] that he wanted the United Kingdom “at the heart of Europe.” Today, no Conservative leader wants to be there. The Conservative Party is evenly divided between those, such as London Mayor Boris Johnson, who want it out of Europe entirely and those, such as Prime Minister David Cameron, who want the country to be safe on Europe’s margins.

When he promised his countrymen a referendum on the question in 2013, Cameron was confident that the “remain” camp would win. The neck-and-neck polls suggest he may have miscalculated. In an effort to salvage British membership, Cameron has secured a package of concessions from his EU partners. They include excluding the United Kingdom from any commitment to “ever-closer union,” extracting an EU pledge to cut regulatory red tape, and giving the United Kingdom a voice in eurozone policies that might affect the pound sterling.  

Brexit would be an economic and political catastrophe for everyone. The ensuing divorce would be messy, as an embittered EU strikes hard bargains on access to the continental market. Many multinationals could flee London, undermining its position as a leading financial center. The United Kingdom would need to negotiate its own bilateral trade deals with the United States and other trading partners. Its international influence [15], as well as its special relationship with the United States, would wane. Brexit would inevitably hasten the dissolution of the United Kingdom itself, as Scotland would surely proceed with another referendum on independence. As for the EU, it would lose its second-largest economy, including one-fifth of its GDP, and much of its diplomatic and military heft in the world.

Regardless of the outcome of the Brexit referendum, one thing seems certain: the heterogeneous EU is headed toward a multispeed Europe that increasingly allows member states to opt in and out of particular undertakings. Other European nations are taking note of British demands for special treatment. And this is at a time when leaders across the continent are already facing more populist challenges than at any period since World War II. Although the European idea was always a project of political elites, they convinced their people to surrender some aspects of sovereignty in exchange for other benefits, such as free movement, market access, and global influence. As leaders from Merkel to Cameron have discovered, European publics today are highly skeptical of such tradeoffs.

Still, the EU will survive, albeit in an altered form. The EU will likely have to cede some of its authority back to member states. The rise of populist forces has accelerated the renationalization of European politics. As a growing number of EU countries assert their sovereign prerogatives, the result will be a Europe of variable geometry. As some EU states make border controls permanent, a “mini-Schengen” could arise among a core group of western European states. The eurozone could lose Greece—and potentially other states, if their governments conclude that they need a central bank and a currency of their own to control their economic destiny. And one of Europe’s proudest achievements, the EU human rights framework, could come under challenge from populist and nativist forces in many EU countries.

The renationalization of Europe would not be a pretty picture. While a return to war among its members seems inconceivable, a looser EU will be a weaker EU. It would be even less capable of handling the migrant crisis or robustly resisting Russian aggression, to say nothing of shouldering its share of the burden of maintaining global order.

---

Source URL: https://www.foreignaffairs.com/articles/europe/2016-03-29/ever-looser-union

Links
[1] https://www.foreignaffairs.com/articles/europe/2011-12-13/failure-euro
[2] https://www.foreignaffairs.com/articles/western-europe/2015-09-14/truth-about-migrant-crisis
[3] https://www.foreignaffairs.com/articles/2016-03-29/lone-wolves-no-more
[4] https://www.foreignaffairs.com/articles/united-kingdom/2016-02-22/breaking-europe
[5] https://www.foreignaffairs.com/articles/united-kingdom/2016-02-28/should-it-stay-or-should-it-go
[6] http://www.cvce.eu/en/obj/meeting_of_the_action_committee_for_the_united_states_of_europe_paris_18_january_1956-en-72da058e-e766-415e-ad6e-49bec4853946.html
[7] https://www.foreignaffairs.com/reviews/2015-12-14/european-disunion
[8] https://www.foreignaffairs.com/articles/europe/2012-09-01/why-euro-will-survive
[9] https://www.foreignaffairs.com/articles/europe/2013-06-11/next-europe
[10] https://www.foreignaffairs.com/articles/germany/2016-01-22/going-south
[11] https://www.foreignaffairs.com/articles/western-europe/2016-02-22/europes-closed-door-policy
[12] http://www.reuters.com/article/us-europe-migrants-tusk-idUSKCN0UX220
[13] http://www.bbc.com/news/world-europe-35854413
[14] http://www.johnmajor.co.uk/page2017.html
[15] https://www.foreignaffairs.com/articles/western-europe/littler-england

https://www.foreignaffairs.com/articles/europe/2016-03-29/ever-looser-union

Heralding Civilization Bronze Age metalwork heritage. Continuity of Indus Script cipher tradition traced into Punch-marked coins dated ca. 6th cent. BCE

April 1, 2016, 1:13 am

≫ Next: Je tiens mon affaire! Tvaṣṭr̥ Dhokra kolhe sippi. Indus Script visible language.

≪ Previous: An ever-looser union. Can Europe survive its current crises? -- Stewart Patrick

$

0

0

Mirror: http://tinyurl.com/zxj3ehm

*raktikā -- 2 (rakta -- n. lex.) ʻ copper ʼ. [rakta -- 1](CDIAL 10544)

raktikā1 f. ʻ Abrus precatorius (the red and black seed used as a weight) ʼ ŚārṅgS. [rakta -- 1]Sh. (Lor.) r*lt ʻ a goldsmith's weight ʼ; K. raċh, dat. °ċi f. ʻ seed of A. precatorius used as a weight (= 1 1/2 grains) ʼ, S. ratī f., L. P. rattī f., N. rāti geṛi, A. rāti, H. rattī, ratī f. (→ B. rati, Or. ratti, rati; Mth.ratī ʻ grain, speck, small portion ʼ; M. ratī f. ʻ seed of A. precatorius ʼ).

8 Ratti = 1 Masha; 12 Masha = 1 Tola (11.6 Grams).  One argument is that ratti weighed 0.11 gms. and hence SatamAna, 'hundred units' weighed 11 gms. 

Taxila long silver bent bar Silver Satamana (100 rattis, 11.2gm) circa 5th century - 303 BCE.

Karshapana's weight was 32 rattis. Nishka, Sana, Vimsatika are also coinage terms or weight units in Panini.  

शतम् śatam  -मानः, -नम् 1 a Pala of silver; धरणानि दश ज्ञेयः शतमानस्तु राजतः Ms.8.137; अष्टौ शाणाः शतमानं वहन्ति Mb.3.134.15. -2 an Āḍhaka q. v. śātamāna शात-मान [p= 1064,1] mf(ई)n. (fr. शत-मान) bought with the measure of one hundred Pa1n2. 5-1 , 27.  शत--मान [p= 1050,1] weighing a hundred (रक्तिकाs Sch.) TS. Ka1t2h. S3Br. &c m. any object made of gold which weighs a hundred मानs S3Br. Ka1tyS3r.m. n. a weight (or gift) of a hundred मानs in gold or silver (दक्षिण mfn. Ka1tyS3r. ) ib.  Mn. Ya1jn5. &cm.a पल of silver W.m. an आढक 
(q.v.) W. आढक [p=134,1] mn. (g. अर्धर्चा*दि q.v. ; ifc. f(ई). Pa1n2. 4-1 , 22 and v , 1 , 54 Comm.) a measure of grain (= 1÷4 द्रोण = 4 प्रस्थs = 16 kudavas = 64 पलs = 256 कर्षs = 4096 माषs ; = nearly 7 lbs. 11 ozs. avoirdupois ; in Bengal = two mans or 164 lbs. avds.)(Samskrtam)

rīti2 f. ʻ yellow brass, bell metal ʼ Kathās., rītika -- n. ʻ calx of brass ʼ, °kā -- f. ʻ brass ʼ lex. 2. rīrī -- , rirī -- f. ʻ yellow brass ʼ lex. [Ac. to AO xviii 248 Dard. forms < *raktikā -- 2]1. Dm. rit ʻ copper ʼ, Gaw. rīt (→ Sv. rīda NoPhal 49); Bshk. rīd ʻ brass ʼ, Tor. žit f.2. Pk. rīrī -- f. ʻ brass ʼ; Sh. rīl m. ʻ brass, bronze, copper ʼ.(CDIAL 10752)

rītí1 f. ʻ stream ʼ RV. [√rī]Pk. rīi -- f. ʻ path, fashion ʼ; Or. ria ʻ shallow narrow channel for catching fish in dry season ʼ; G. rī f. ʻ method, manner ʼ.Addenda: rītí -- 1: Md. rī ʻ a discharge ʼ or prob. der. rīˊyatē or riyáti.(CDIAL 10751)

Another example of these very early Gandharan silver bar coins
Source: http://www.vcoins.com/ancient/jencek/store/viewitem.asp?idProduct=5504
(downloaded July 2007)
"Gandhara, Circa 600-300 B.C. AR Shatamana (43 mm, 11.26 g). Gandhara symbol on each end."
Very probably the earliest Indian coin: a large silver shatamana (double siglos or bent bar) issue, Gandhara, c.600-500 BCE (43mm long, 10mm wide).
Very probably the earliest Indian coin: a large silver shatamana (double siglos or bent bar) issue, Gandhara, c.600-500 BCE (43mm long, 10mm wide)


One more of these very early Taxila "shatamana bent bar" coins, seen from all angles (length 11.3mm / 0.44 inches; weight 11.25 gm (100 ratti)
http://www.columbia.edu/itc/mealac/pritchett/00routesdata/bce_500back/janapadacoins/janapadacoins.html

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; dhāū, dhāv 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'; 

Bogazkoy seal impression with 'twisted rope' hieroglyph (ca. 18th cent. BCE) See: http://bharatkalyan97.blogspot.in/2015/10/indus-script-hieroglyph-twisted-rope-on.html

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).meṛhao = v.a.m. entwine itself; wind round, wrap round roll up (Santali); maṛhnā cover, encase (Hindi) (Santali.lex.Bodding)  मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) mēḍhā m A stake, esp. as forked. Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) med 'copper' (Slavic languages)
Santali glosses
 m0352cdef

The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5 sides A to F. Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features.Rebus readings of m0352 hieroglyphs: dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'

1. Round dot like a blob -- . Glyph: raised large-sized dot -- (gōṭī ‘round pebble);goTa 'laterite (ferrite ore)

2. Dotted circle khaṇḍa ‘A piece, bit, fragment, portion’; kandi ‘bead’;

3. A + shaped structure where the glyphs  1 and 2 are infixed.  The + shaped structure is kaṇḍ  ‘a fire-altar’ (which is associated with glyphs 1 and 2)..

Rebus readings are: 1. khoṭ m. ʻalloyʼgoTa 'laterite (ferrite ore); 2. khaṇḍā ‘tools, pots and pans and metal-ware’; 3. kaṇḍ ‘furnace, fire-altar, consecrated fire’.

Four ‘round spot’; glyphs around the ‘dotted circle’ in the center of the composition: gōṭī  ‘round pebble; Rebus 1: goTa 'laterite (ferrite ore); Rebus 2:L. khoṭf ʻalloy, impurityʼ, °ṭā ʻalloyedʼ, awāṇ. khoṭā  ʻforgedʼ; P. khoṭ m. ʻbase, alloyʼ  M.khoṭā  ʻalloyedʼ (CDIAL 3931) Rebus 3: kōṭhī ] f (कोष्ट S) A granary, garner, storehouse, warehouse, treasury, factory, bank. khoṭā ʻalloyedʼ metal is produced from kaṇḍ ‘furnace, fire-altar’ yielding khaṇḍā ‘tools, pots and pans and metal-ware’. This word khaṇḍā is denoted by the dotted circles.

Variant orthography of two unique Indus Script hieroglyphs on a punch-marked coin

The dotted circle hieroglyph on m0352 seal PLUS the 'twisted rope' hieroglyph on Kalibangan k020 seal provide the models for the following variant hieroglyph-multiplex on an early punch-marked coin. I suggest that the two hieroglyphs: 1. dotted circle; 2. joined strands of rope are the components on the composite realized on the punch-marked coins -- with 6 strands emanating from the centre, which is the dotted circle:

Long silver "bent-bar" shatamana
c. 600-300 BCE
Weight:10.88 gm., 8 x 43 mm.
2 six-petalled flowers ? at each end,
smaller punches in between / blank
Ref:  Rajgor, 540-541.

A silver 1/8 karshapana coin from Taxila, in the Gandhara janapada, 400's BCE

m1406 Three strands linked together. A variant of this orthography occurs on punch-marked coins, signifying the rebus semantics of twisted strands of rope.

A reconstruction drawing of the hieroglyph-multiplex on many punch-marked coins of ca. 6th to 4th cent. BCE as a variant of Indus Script Hieroglyphs of 1. dotted circle PLUS 2. twisted strands of rope. This is an orthographic representation of working with 6 dhAu 'elements, strands' to produce an alloy ingot. The dotted circle is dhAu 'strand of rope' (cross-sectional representation of a strand as shown on the trefoils, two dotted circles, single dotted circled decorating the shawl of the priest of Mohenjodaro) or the fillet with dotted circle worn on the priest's forehead and right shoulder.

With this demonstrated Indus Script Cipher continuum into the historical periods from ca. 500 BCE, a number of parallels will be traced from Indus Script hypertext (hieroglyph-multiplexes) into the 'symbols' signified on ancient coins of Bharatam which are provided for data mining by RBI Monetary Museum and exquisite compilations of S. Govind Raya Prabhu and the resources presented by Pankaj Tandon, Michael Mitchiner and W. Theobald describing the symbolic repertoire of scores of mints extending from Bactria (Central Asia) to Anuradhapura (Sri Lanka).

The first documented coinage is deemed to start with 'Punch Marked' coins issued between the 7th-6th century BC and 1^st century AD. These coins are called 'punch-marked' coins because of their manufacturing technique. Mostly made of silver, these bear symbols, each of which was punched on the coin with a separate punch.

Punch Marked Coin, Silver Bentbar

Hieroglyph-multiplex deciphered as iron ore casting: Dula 'pair' rebus: dul 'cast metal' PLUS the strands from the dotted circle: meD dhAu 'iron ore'. Thus, iron ore casting.

 

Issued initially by merchant Guilds and later by States, the coins represented a trade currency belonging to a period of intensive trade activity and urban development. They are broadly classified into two periods : the first period (attributed to the Janapadas or small local states) and the second period (attributed to the Imperial Mauryan period). The motifs found on these coins were mostly drawn from nature like the sun, various animal motifs, trees, hills etc. and some were geometrical symbols.

   

Description	Obverse	Reverse
Seven Symbols
Five Symbols
Five Symbols

Silver Punchmarked Coins
 
 Top-down: arka 'sun' rebus: 'copper' meD dhAu 'iron ore casting' PLUS khaNDa 'arrow' rebus: khaNDa 'implements' 

kolom 'three' rebus: kolimi 'smithy, forge' kuTi 'tree' rebus: kuThi 'smelter'

meD 'twist' rebus: meD 'iron'

poLa 'zebu' rebus: poLa 'magnetite ferrite ore'.

Representative Symbols appearing on Punch Marked Coins


 

Description	Coin
Asmaka Janapada karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron' meD dhAu 'iron ore casting' PLUS goTa 'round' rebus: khoTa 'ingot' kuTi 'tree' rebus: kuThi 'smelter' meD dhAu 'iron ore casting'
Imperial Series arka 'sun' rebus: 'copper' meD dhAu 'iron ore casting' kamaDha 'bow and arrow' rebus: kammaTa 'coinage, mint' eraka 'nave of wheel' rebus: eraka 'moltencast, copper' arA 'spoke' rebus: ara 'brass'
Imperial Series arka 'sun' rebus: 'copper' meD dhAu 'iron ore casting' kolom 'three' rebus: kolimi 'smithy, forge' kuTi 'tree' rebus: kuThi 'smelter' meD 'twist' rebus: meD 'iron' poLa 'zebu' rebus: poLa 'magnetite ferrite ore'.
Imperial Series arka 'sun' rebus: 'copper' meD dhAu 'iron ore casting'

Imperial Punch Marked Coins
  
Mauryan Art Form
 
 

Dynastic Coins

Dating of regular dynastic coin issues is controversial. The earliest of these coins relate to those of the Indo-Greeks, the Saka-Pahlavas and the Kushans. These coins are generally placed between the 2nd century BC and 2nd century AD. Hellenistic traditions characterise the silver coins of the Indo-Greeks, with Greek gods and goddesses figuring prominently, apart from the portraits of the issuers. These coins with their Greek legends are historically significant, as the history of the Indo-Greeks has been reconstructed almost entirely on their evidence. The Saka coinage of the Western Kshatrapas are perhaps the earliest dated coins, the dates being given in the Saka era which commences in AD 78. The Saka era represents the official calendar of the Indian Republic.

Indo-Greek Coins
 

Kushan

Map of Kushan
 Earliest Kushan coinage is generally attributed to Vima Kadphises. The Kushan coins generally depicted iconographic forms drawn from Greek, Mesopotamian, Zorastrian and Indian mythology. Siva, Buddha and Kartikeya were the major Indian deities portrayed. Kushan gold coins influenced subsequent issues, notably those of the Guptas.

Coins of the Kushans


 

Kushan Art Form, Statue of Kanishka, Mathura Museum
 Satavahana
The Satavahanas were the early rulers of the region between the rivers, Godavari and the Krishna. They were also referred to as the Andhras. They soon brought under their control, both the Western-Deccan and Central India. The dates of their coming in to power are contentious and are variously put between 270 BC to 30 BC. Their coins were predominantly of copper and lead, however, silver issues are also known. These coins carried the motifs of fauna like elephants, lions, bulls, horses, etc. often juxtaposed against motifs from nature like hills, tree, etc. The silver coins of the Satavahanas carried portraits and bilingual legends, which were inspired by the Kshatrapa types.

Coins of the Satavahana

sattva 'svastika hieroglyph' rebus: sattva 'zinc' jasta 'zinc' 
meD dhAu 'iron ore casting'

 Western Kshatrapa
The term Western Kshatraps alludes to the set of rulers who ruled Western India between the 1^st and 4^th Century AD. The legends on the coins were generally in Greek and Brahmi. Kharoshti too was used. The Western Kshatrap coins are reckoned to be the earliest coins bearing dates. The common copper coins are the 'bull and hill' and the 'elephant and hill' types.

Description	Obverse	Reverse
Rudrasimha I, 180-196 AD
Viradaman, 234-238 AD

Coins of the Western Kshatrapas

meTTu 'hillock, mound' rebus: meD 'iron'
tAmarasa 'lotus' rebus: tAmra 'copper' 

Other Coins
In the interregnum between the fall of the Maurayans and the rise of the Guptas various tribal republics in the Punjab and monarchies in the Indo-Gangetic plain issued coins. Most coins were issued in Copper. The coins of the Yaudheyas were influenced in design and motif by the coins of the Kushans. They followed the weights of the Indo-bacterian rulers.

Coin of the Yaudheyas
 Gupta
Gupta coinage (4th-6th centuries AD) followed the tradition of the Kushans, depicting the king on the obverse and a deity on the reverse; the deities were Indian and the legends were in Brahmi. The earliest Gupta coins are attributed to Samudragupta, Chandragupta II and Kumaragupta and their coins often commemorate dynastic succession as well as significant socio-political events, like marriage alliances, the horse sacrifice, etc (King and queen type of coin of Chandragupta 1, Asvamedha type, etc.), or for that matter artistic and personal accomplishments of royal members (Lyrist, Archer, Lion-slayer etc.).
 

Description	Obverse	Reverse
King as Horseman

mora 'peacock' rebus: morakkaka 'a kind of steel' 

King as Lion Slayer
King & Queen Type
Fan-Tailed Peacock

mora 'peacock' rebus: morakkaka 'a kind of steel'

Coins of the Guptas
 Post-Gupta Coinage
Post-Gupta coinage (6th-12th centuries AD), is represented by a monotonous and aesthetically less interesting series of dynastic issues including those of Harsha (7th century AD, Kalachuri of Tripuri (11th century AD) and early medieval Rajputs (9th-12th centuries AD). Gold coins struck between this period are rare. These were revived by Gangeyadeva the Kalachuri ruler who issued the 'Seated Lakshmi Coins' which were copied by later rulers both in gold as well as in debase form. The Bull & Horseman type of coins were the most common motif appearing on coins struck by the Rajput clans. In western India, imported coins like the Byzantine solidi were often used reflecting trade with the Eastern Roman Empire.  

Description	Obverse	Reverse
Seated Lakshmi
Bull & Horseman poLa 'zebu' rebus: poLa 'magnetite ferrite ore'

  

South Indian Coinage

The symbols and motifs on South Indian coin issues were confined to dynastic crests such as the boar (Chalukya), bull (Pallava), tiger (Chola), fish (Pandya and Alupas), bow and arrow (Cheras) and lion (Hoysala) etc. The Yadavas of Devagiri issued 'Padmatankas' with an eight-petalled lotus on the obverse and a blank reverse. Coin legends refer to names or titles of the issuer in local scripts and languages. Decorative features are rare and divinities are almost absent till the medieval Vijayanagar period (14^th - 16^th centuries AD).

Description	Obverse	Reverse
Coins of the Cheras 11th - 13th Centuries poLa 'zebu' rebus: poLa 'magnetite ferrite ore' kamaDha 'bow+ arrow' rebus: kammaTa 'coinage, mint'
Coins of the Cheras 11th - 13th Centuries karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'
Coins of the Cholas 9th - 13th Centuries
Coins of the Alupas of Udipi 11th - 13th Centuries dula 'pair' rebus: dul 'cast metal' ayo 'fish' rebus: aya 'iron' ayas 'metal'
Padmatankas, Coins of the Yadavas of Devagiri 12th - 14th Centuries tAmarasa 'lotus' rebus: tAmra 'copper'

 
https://www.rbi.org.in/currency/museum/c-ancient.html

The Vijayanagar Empire

In the South, the Vijayanagar contemporaries of the Delhi Sultanate and Mughals, were the other dynasty whose currency presents a rare example of a standardised issue which later provided a model for the European and English trading companies. The Kingdom of Vijayanagar was founded around 1336 AD by Harihara and Bukka in the region south of the River Krishna. The Vijayanagar period saw the advent of European traders especially the Portuguese. Krishnadevaraya encouraged foreign trade and this necessitated wider use of currency. Coins of the Vijayanagar kingdom was largely struck in gold and copper. Most Vijayanagar gold coins bore a sacred image on the obverse and the royal legend on the reverse. Amongst the significant gold coins of the Vijayanagar Empire were those bearing the image of the deity of Tirupati, i.e., Lord Venkatesvara represented either singly or with his two consorts. These coins inspired the 'Single Swami' Pagodas of the Dutch and French and the 'Three Swami' Pagodas of the English East India Company.

Coins of the Vijayanagar Empire
 

Pagoda, East India Company inspired by the coins of the Vijayanagar Empire

https://www.rbi.org.in/currency/museum/c-medi.html 
http://www.newerapublicationschennai.com/ssic_index_to_vol_i_to_xx.pdf 

index to studies in south indian coins volumes, i –xx, 1991 

Note: S Govindraya Prabhu's webpage is a tour de force for historical studies of Bharatam supported by numismatics. The astonishing humility with which he offers the resources for further studies is a tribute to the tradition of dharma which exemplifies Bharatam Janam. This is what Prabhu says on his home page:"Realizing the need of most collectors and researchers for reference that can be easily accessible on Internet, I have attempted to include the items that are of immense value to an ordinary collector.  It is merely an attempt to explain the evolution of coinage and its role in understanding the history of India. In the process of explaining Indian coinage, political system, social movements and economy have been touched.  I hope this web page would arouse a keen interest in Indians to preserve the ancient coins of their possession or encounter to save the important ligaments of Indian history if found to be valuable.  I dedicate this material as a source of inspiration for every Indians in saving every Indian coins from the melting pot hoping it will reveal the missing facts of the Indian history. Coins displayed in the web page are from my personal collection, which are believed to be attributed properly.  Please let me know if it needs any modifications or corrections if misrepresented.  I have classified this web page according to the chronological order of dynastic rule in India. Please click on the hypertext link or thumbnail to enter into corresponding web pages. Coin images are enlarged for better viewing and they do not reflect the correct size." https://www.forumancientcoins.com/india/index.html

I present herewith some examples from the resources with a focus on 'symbols' used on many coins. Many 'symbols' are traceable to the Indus Script Cipher tradition.

Silaharas (Karad)

Silaharas were ruling three different regions and hence those branches are termed as 1. Silharas of Karad (ruled between 1050 and 1212 AD), 2. Silaharas of South Konkan (before 1050) and 3. Silaharas of North Konkan (between 1026 - 1030 AD). Silaharas of Karad followed the Kolhapur coinage style in minting coins. They retained the trident and Garuda devices in their coinage. Coins bearing degenerated images are dated to the later period while others are dated to earlier period.

Ruler        :  Anonymous Year         : 1050 - 1212 AD and later Unit          : Gold quarter pagoda, 7mm, 0.78gm Obverse   : Ornamental trident, sun and moon inside Reverse    : poorly struck Garuda Reference : MCSI1 246, Scarce The 'ornamental trident' can be a orthographic variant of two strands emanating from a central dot: dhAu 'strand' rebus: dhAu 'ore' dula 'pair' rebus dul 'cast metal, molten cast'; thus, metal ore casting; arka 'sun' rebus: 'copper'

Gangas (Thalakkad)

Catalogue

Ruler        : Anonymous Year        : 10th century AD - early 14th century Unit          : Gold Pagoda, 16 mm, 3.78 gm Obverse   :  Caparisoned Elephant facing right                   with lowered trunk,  Above : Kannada                   legend "Bha Dha" Reverse    : Floral scroll Reference : MCSI1 192, C

karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron' 

	Ruler        : Anonymous Year        : 10th century - early 14th century AD Unit          : Gold Pagoda, 15 mm, 3.7 gm Obverse   :  Caparisoned Elephant facing right                   with lowered trunk, Above : Sun, Moon Reverse    : Floral scroll Reference : MCSI1 192 type, S
	Ruler        : Anonymous Year         : 10th century AD - early 14th century Unit          : Gold Fanam, 7 mm, 0.39 gm Obverse   : Caparisoned Elephant facing right                   with lowered trunk. Reverse    : Floral scroll Reference : Mitchiner 195, S
	Ruler        : Anonymous Year         : 10th century AD - early 14th century Unit          : Gold Fanam, 7 mm, 0.39 gm Obverse   : Caparisoned Elephant facing right                   with lowered trunk. Reverse    : Floral scroll Reference : MCSI1 195 variation, S
	Ruler        : Anonymous Year         : 10th century AD - early 14th century Unit          : Gold Quarter Fanam, 4 mm, 0.11 gm Obverse   : Caparisoned Elephant facing right                   with lowered trunk. Reverse    : Floral scroll Reference : MCSI1 198, R
	Ruler        : Anonymous Year         : 10th century AD - early 14th century Unit          : Gold Quarter Fanam, 4 mm, 0.11 gm Obverse   : Caparisoned Elephant facing right                   with lowered trunk. Reverse    : Floral scroll Reference : MCSI1 198, R

Pallavas (Badami)

Ruler        :  Narasimhavarman I Pallava Year         : 630 - 668 AD Unit          : Copper, 28mm, 4.65gm, Deccan province Obverse   : Humped Bull standing right, above crescent, Srivatsam, conch all above creeping serpent Reverse    : Lotus  tAmarasa 'lotus' rebus: tAmra 'copper poLa 'zebu' rebus: poLa 'magnetite ferrite ore' kuThAru 'crucible' rebus: 'treasury' Srivatsa:  khambhaṛā ʻfinʼ (kammaTa 'coiner, coinage, mint (Kannada) kulyA 'serpent hood' rebus: kolhe 'smelter'

Kadambas (Hangal)

Catalogue

	Ruler        : Anonymous Year        : 11th century AD Unit          : Gold Pagoda, 21 mm, 4.20 gm Obverse   :  Seated Hanuman facing with head right,                    Chowry and sankh each side                    Legend "Na Ka Ra" below.                    Dotted lines in border Reverse    : Floral scroll in border Reference : MCSI1 229, R
	Ruler        : Anonymous Year         : 11th century AD Unit          : Gold  Quarter Fanam, 4 mm, 0.10 gm Obverse   : Hanuman facing right, with raised tail. Reverse    : Hanagal Kadamba in two lines Reference : Unpublished, RRR
	Ruler        : Anonymous Year         : 11th century AD Unit          : Gold  Quarter fanam, 4 mm Obverse   : Hannuman with raised tail, seated left Reverse    : speherical Blob Reference : None, RRR
	Ruler         : Toyimadeva Year         : 1048 - 1075 Unit          : Gold Pagoda, 19 mm, 4.10 gm Obverse   : Lion with reverted head facing right                   with raised left foreleg, legend "SaLaGa". Reverse    : Floral scroll in border Reference : MCSI1 226, R
	Ruler        : Anonymous Year         : 11th century AD Unit          : Gold  Double fanam, 8 mm Obverse   : Lion facing left Reverse    : Floral scroll Reference : MCSI1 228 type (Lion facing left!) RRR
	Ruler        : Anonymous Year         : 11th century AD Unit          : Gold  Double fanam, 8 mm Obverse   : Lion facing left Reverse    : Floral scroll Reference : MCSI1 228 type (Lion facing left!) RRR
	Ruler         : Shantivarma for Jagadekamalla-II Year         : 1075-1094 AD Obverse   : LionX4, SriX2, Legend : JaGaDhe Reverse    : Convex & blank Unit          : Gold Varaha, 3.6 gm Reference : ONS162, R

Kadambas (Goa)

Catalogue

	Ruler         : Jayakesin I Year         : 1150-80 AD Unit          : Gold Pagoda, 19 mm, 4.40 gm Obverse   : Lion with reverted head facing left. Cyclic Year Reverse    : Legend "Sri Saptakotisa labdhavara vira -                   jayakesii- deva Malava ramari". Reference : MCSI1 237, RR
	Ruler         : Jayakesin II Year         : 1104-47 AD Unit          : Gold Pagoda, 19 mm, 4.38 gm Obverse   : Lion with reverted head facing left. Cyclic Year Reverse    : Legend "Sri Saptakotisa labdhavara vira -                   jayakesii- deva Malava ramari". Reference : MCSI1 237, RR
	Ruler         : Sivachitta with heir Jayakesin-III Year         : 1187-1216 AD Unit          : Gold Pagoda, 19 mm, 4.30 gm Obverse   : Lion with head facing left. Cyclic Year Reverse    : Legend "Sri SivaChitha" in -                   Nagari, Grantha, Kannada". Reference : MCSI1 241, RRR
	Ruler         : Anonymous Year         : 13th cent AD Unit          : Gold Pagoda, 16 mm, 3.68 gm Obverse   : Lion with head facing left. Ankusha in front Reverse    : Legend "Sri - Malava- ramari" in - Reference : MCSI1 243, R
	Ruler         : Shashthadeva - III Year         : 1246/7 - 1260 AD Unit          : Gold Pagoda, 17 mm, 3.98 gm Obverse   : Lion facing left. Cyclic Year in front Reverse    : Sapta Kotisvara CharaNa Labdavara Sri Vira Chathadeva Reference : None other than this, RRR
	Ruler        : Anonymous Year         : 12th to 13th cent AD Unit          : Gold  fanam, 8 mm Obverse   : Lion facing to right Reverse    : Floral scroll Reference : Scarce
	Ruler        : Anonymous Year         : 12th to 13th cent AD Unit          : Gold  fanam, 8 mm Obverse   : Lion facing left Reverse    : Nagari "Sri" Reference : Scarce
	Ruler        : Anonymous Year         : 12th to 13th cent AD Unit          : Gold  fanam, 7 mm Obverse   : Lion facing left, Ceremonial Lamp Reverse    : Trident Reference : Scarce
	Ruler        : Anonymous Year         : 12th to 13th cent AD Unit          : Gold  fanam, 8 mm Obverse   : Lion standing and facing to right Reverse    : Nagari Sri Reference : Very Scarce

Yadavas (Devagiri)

Catalogue

	Ruler        : Sri Bhillama Deva Year        : 1185 - 1193 AD Unit          : Gold Pagoda, 13 mm, 3.29 gm Obverse   :  Sri X2, Conch+Discus, "Sri Bhilla/madiva" Reverse    : Blank Reference : Karnataka Numismatics, Rare
	Ruler        : Sri Singhana Year        : 1200 - 1247 AD Unit          : Gold Pagoda, 13 mm, 3.29 gm Obverse   :  Sri X2, Conch+DiscusX1, Sri Singha(na)X1 Reverse    : Blank Reference : None, Rare
	Ruler        : Sri Singhana Year        : 1200 - 1247 AD Unit          : Gold Pagoda, 16 mm, 3.8 gm Obverse   :  Sri X2,  ConchX1, "Sri Singhana"/Sword Reverse    : Blank Reference : Very Scarce
	Ruler         : Sri Mahadeva Year         : 1261 - 1270 AD Unit          : Gold Pagoda Obverse   : Sri X2, Conch, Nagari legend :                   "Sri Mahadeva" and Spear below Reverse    : Blank Reference : MCSI1 288 type, Scarce
	Ruler         : Sri Ramachandra Year         : 1270 - 1311 AD Unit          : Gold Pagoda, 18 mm, 3.8 gm Obverse   : Sri X2, Conch, Spear and legend :                   "Sri Ramachandra"& Bow below Reverse    : Blank Reference : MCSI1 289, Scarce
	Ruler         : Sri Ramachandra Year         : 1270 - 1311 AD Unit          : Gold Pagoda, 18 mm, 3.8 gm Obverse   : Sri X2, Conch, Spear and legend :                   "Sri Ramachandra", Ankush below Reverse    : Blank Reference : MCSI1 289, Common

Chalukyas

Catalogue - Page 1
 
Fig : Varaha of a hoard found near Ankola which was said to have around 40 pieces

	Issue        : Mangalesa ? 597 - 610 AD Obverse   : Early Temple, with a simple lintel Reverse    : Sceptre between two lamps, sun moon above Unit          : Gold Pagoda, 3.8 gm, 12 mm Reference : MCSI1 256, RRR
	Issue        : Barma Bhupala, Kalachuri-feudatory, 1187/88 AD Obverse   : Warrior running rt with sword, Sun+moon Reverse    : Kannada: Sri Nigalamkamala Damdinagova Unit          : Gold Pagoda, 3.8 gm, 17mm Reference : MCSI1 250, RRR
	Issue        : Pulakesi II (610 -42 AD) Obverse   : Stylished lion facing right/left foreleg raised Reverse    : Temple Unit          : Quarter fanam, 0.06 gm, Gold : 22K Reference : None, RRR
	Issue        : Somesvara (1043 - 68 AD) Obverse   : caparisoned boar facing right/umbrella above Reverse    : Kannada legend "Sri" Unit          : Quarter fanam, 0.06 gm, Gold : 22K Reference : None, RRR
	Issue        : Jagadekamalla-II (1138-1151) Obverse   : Lion -right X4, Sri X2 + Legend : JAgadhe Reverse    : Convex Blank Unit          : Gold varaha, 3.6 gm, punchmarked Reference : None, RR

Catalogue - Page 2
 

	Issue        : Jagadekamalla-II (1138-1151) Obverse   : spearhead+Goad, Vishnupada X2 + Disc & Conch Reverse    : Convex and blank Unit          : Gold Gadyana, punchmarked Reference : None, RRR
	Issue        : Jagadekamalla-II (1138-1151) Obverse   : Temple+Shankh+ChakraX1 + SriX2, LionX4, "Jagadheka/Malla" legend punch Reverse    : Convex and blank Unit          : Gold Gadyana, punchmarked Reference : MCSI1, RR
	Chalukya restored (after Kalachuri invasion)Issue        : Somesvara IV Chalukya (1184-1189 AD) Obverse   : Garuda with prominent beak running right Reverse    : (Dasapa) Murari/ Bamta Ra(ja) Unit          : Gold pagoda, 3.3gm Reference : MCSI1282, RR
	Ruler        : Anonymous Obverse   : Stylished lion facing left + trident Reverse    : Ceremonial lamp flanked by anuks & goad Unit          : Fanam, 0.36 gm Reference : None, RRR
	Ruler        : Anonymous Obverse   : Stylished lion facing right Reverse    : anuksh & goad Unit          : Quarter fanam, Gold 0.04 gm Reference : None, RRR
	Issue        : Kartikeya Tapovanam Year        : Regin of Ahavamalla(around 996 AD) Unit          : Fanam, 8.5mm, Gold 0.40 gm Obverse   : Kumara seated Reverse    : Peacock to left Reference : None, RRR

Catalogue - Page 3
 

	Issue        : Kartikeya Tapovanam Year        : Regin of Tribhuvanamalla(around 1098 AD) Unit          : Gold Quarter fanam, 5mm, 0.04 gm Obverse   : Peacock to rt, pellet above/lamp on rt Reverse    : Legend or Crocodile ? Reference : None, RRR
	Issue        : Anonymous Year        : 11th century AD ? Unit          : Gold fanam Obverse   : Stylistic Lion to left Reverse    : Two concave symbol facing each other Reference : None, RRR
	Issue        : Anonymous Year        : 10th to 11th century AD ? Unit          : Gold quarter fanam Obverse   : Stylistic Lion to right Reverse    : Two concave symbols facing each other Reference : None, RRR
	Issue        : Anonymous Year        : 10th to 11th century AD ? Unit          : Gold quarter fanam Obverse   : Stylistic Lion to left Reverse    : a globule symbol Reference : None, RRR
	Issue        : Anonymous Year        : 10th to 11th century AD ? Unit          : Gold quarter fanam Obverse   : Stylistic Lion to left Reverse    : blank Reference : None, RRR

Allupas

Catalogue - Page One

	Ruler         : Anonymous Year         : 1000 - 1336 AD, Mangalore mint Unit           : Gold Pagoda, 15mm, 3.75 gm Obverse    :  Stylized fishes below ceremonial                   Lamp, Flowers on both the sides Reverse    : Kannada Title - Sri Pandya                   Dhanamjaya Reference : Spinks-1991,#208 Extremely Rare
	Ruler        : Anonymous Year         : 1000 - 1336 AD, Mangalore mint Unit          : Gold pagoda, 14 mm 3.56 gm Obverse   : Two upright fishes beneath umbrella                   Flowers both side Reverse    : Title in Kannada legend  - Sri                   Pandya Dhanamjaya Reference : None, RR
	Ruler         : Anonymous Year         : 1000 - 1336 AD, Udupi mint Unit           : Gold Pagoda, 14mm, 3.57 gm Obverse    :  Stylized two upright fishes, lamp                   on right, conch on left, goad below                   Umbrella above Reverse    : Nagari Title - Sri Pandya                   Dhanamjaya Reference : MCSI1 221, S
	Ruler         : Gopisvaraya (Feudatory to Hariahara-I) Issue         : 1336 - 1400 AD, Udupi mint Unit           : Gold Pagoda, debased, 14mm, 3.4 gm Obverse    :  Stylized two upright fishes,                   Dagger on right, conch on left Reverse    : Nagari Title - Sri Pandya                   Dhanamjaya, "Ha" between Ya & Da Reference : Extremely Rare
	Ruler         : Anonymous (Vijayanagara period) Issue         : 1336 - 1400 AD, Udupi mint Unit           : Gold Pagoda, debased, 14mm, 2.95 gm Obverse    :  Stylized fishes below umbrella, conch                   & lamp beside, nagari legend on umbrella roof Reverse    : Nagari Title - Sri Pandya                   Dhanamjaya Reference : Extremely Rare

Catalogue - Page Two

	Ruler         : Anonymous Year         : 1000 - 1336 AD, Udupi mint Unit          :  Fanam 0.37 gm, 7mm, Gold Obverse   :  Two upright fishes under canophy. Reverse    :  Legend "Sri" in Kannada Reference :  MCSI1 222, RRR
	Ruler         :  Anonymous Year         : 1000 - 1336 AD, Udupi mint Unit           :  Fanam, 0.35 gm, Gold Obverse    :  Two upright  fishes, accousted by                     conch and a ceremonial lamp Reverse    :  Kannada legend "Sri" Reference : MCSI1 223, S
	Ruler        :  Gopisvararaya Year         :  Vijayanagara period (1336 - 1400 AD) Unit          :  Fanam, Gold, 10mm, 0.37 gm Obverse   :  Two upright fishes                   Dagger and conch beside Reverse    :  Nagari legend - Sri Reference :  Ganesh & Girijapathi, RRR
	Ruler        :  Anonymous Year         :  Vijayanagara period (1336 - 1400 AD) Unit          :  Fanam, Gold, 10mm, 0.37 gm Obverse   :  Two upright fishes                   Conch and ceremonial lamp beside Reverse    :  Kannada legend - Sri with two pellets in. Reference :  None, RRR
	Ruler        :  Anonymous Year         :  12th century AD, Udupi Mint Unit          :  Fanam, Gold, 10mm, 0.37 gm Obverse   :  Two upright fishes                   Conch and Lamp on two sides Reverse    :  Nagari legend - Sri Reference :  None, RRR

Chutus of Banavasi

"The region between Mangalore and Udupi were ruled by the Alupas.  The Alupas were basically Jains in religion, but claimed their ethnic link to the Pandyas and they ruled under the common title "Sri Pandya Dhanamjaya".  Historical evidence reveals that the Alupas ruled even much earlier than 7th century AD, but 11th to 14th century could be stated as the golden period of their rule.

The Alupas ruled Udupi and Mangalore under the suzerainty of Western Chalukyas and the Hoysalas,  the era seemed to be prosperous as seen from their monetary economy.  They ruled the kingdom from their capital town of Udhyavara, now located near Udupi, (after Kapu, between Mangalore and Udupi).  After the downfall of the Hoysalas, the region was annexed to the Vijayanagara kingdom around 1336 and Alupas slowly faded as feudatories ofVijayanagara rulers."

	Ruler         : Chutukulananda Year         : 30 BC - 70 AD Unit           : Lead, 32mm, 15.7 gm Obverse  :  8 arched hill with river below,                    Legend - "Rajno Chutukilananda" Reverse    : Tree in complex railing of 12 squares Reference : MCSI1 26 meTTu 'mound' rebus: meD 'iron' khaNDa 'water' rebus: khaNDa 'implements
	Ruler        :  Mulananda Year         : 78 AD - 175 AD Unit          : Lead, 29mm, 14.8 gm Obverse   : 8 arched hill with river below,                   Legend - "Rajno Mulanandasa" Reverse    : Tree in complex railing of 12 squares,                   Nandipada symbol on the right. Reference : MCSI1 35 meTTu 'mound' rebus: meD 'iron' khaNDa 'water' rebus: khaNDa 'implements
	Ruler        :  Sivalananda Year         : 175 AD - 280 AD Unit          : Lead, 28mm, 15.8 gm Obverse   : 8 arched hill with river symbol below,                   Legend - "Rajno Sivalanandasa" Reverse    : Tree in complex railing of 12 squares,                   Bow & Arrow symbol on the right. Reference : MCSI1 45 meTTu 'mound' rebus: meD 'iron' khaNDa 'water' rebus: khaNDa 'implements kamaDha 'bow&arrow' rebus: kammaTa 'coinage, mint'
	Ruler         :  Anonymous Hiranyaka ruler, feudatories to                    Ikshvakus Year         :  3rd- 4th century AD, Anantapur-Cuddappah Unit           :  Lead, 25 mm, 9.87 gm Obverse    :  Horse facing right, with a dot Reverse    :  6 arched hill flanked by tree with railing                    on the right, river flowing below Reference : MCSI1 134, S
	Ruler        :  Anonymous Hiranyaka ruler, feudatories to                    Ikshvakus Year         :  3rd - 4th century AD Unit          :  Lead 26mm, 9.78 gm Obverse   :  Horse facing right with a pellet, Srivatsa above Reverse    :  Blank reverse Reference :  MCSI1 135 type

https://www.forumancientcoins.com/india/southind/chutu/south_chutucat.html

Hoysalas

Catalogue - Page 1

	Ruler        : Vishnuvardhana Hoysala Year        : 1108 - 1142 AD Unit          : Gold Gadyana, 13 mm, 4.05 gm Obverse   : Sardula walking right, deity above Reverse    : Kannada legend: Nonambavadi gonda Reference : MCSI1 202, R(are)
	Ruler        : Anonymous Year        : Earlier issue Unit          : Gold Fanam, 8 mm, 0.40 gm Obverse   : Seated God with Discus & conch in left                 : hands, trident & Damaru in rightt hands Reverse    : Winged Garuda facing a ceremonial lamp Reference : Ganesh Girijapathi H14 type, RR
	Ruler        : Anonymous Year        : Earlier issue Unit          : Gold Fanam, 8 mm, 0.40 gm Obverse   : Dancing Chamundi facing right Reverse    : Winged Garuda facing a ceremonial lamp Reference : Unpubllished, RRR
	Ruler        : Anonymous Year        :  Earlier issue Unit          : Gold Fanam, 8 mm, 0.386 gm Obverse   : Shardula walking right, crescent above Reverse    : Face of the Vishnu mount "Garuda" ? Reference : Unpublished, RRR
	Ruler        : Anonymous Year        :  Earlier issue Unit          : Gold Fanam, 8 mm, 0.38 gm Obverse   : Shardula walking right, crescent above Reverse    : Hanuman sitting, facing right Reference : Unpublished, RRR
	Ruler        : Anonymous Year        :  Earlier issue Unit          : Gold quarter fanam, 5 mm, 0.06 gm Obverse   : Shardula walking right, crescent above Reverse    : Hanuman squatting, facing rt Reference : Unpublished, RRR
	Ruler        : Anonymous Year        :  Earlier issue Unit          : Gold quarter fanam, 4 mm, 0.07 gm Obverse   : Shardula walking right, crescent above Reverse    : Face of the Goddess ? Reference : Unpublished, RRR

Catalogue - Page 2

	Ruler        : Anonymous Year        : Earlier issue Unit          : Gold Quarter fanam, 3 mm, 0.06 gm Obverse   : Shardula walking right, crescent above Reverse    : Kannada legend Ka Reference : MCSI1 211, RR
	Ruler        : Anonymous Year        : Earlier issue Unit          : Gold Fanam, 7 mm, 0.38 gm Obverse   : Stylized Shardula to right Reverse    : Vishnu reincarnation Koorma (turtle) Reference : Unpublished, RRR
	Ruler        : Anonymous Year        : Earlier issue Unit          : Gold Fanam, 7 mm, 0.38 gm Obverse   : Stylized Shardula to right Reverse    : Vishnu reincarnation Varaha (Boar) Reference : MCSI1 Pg252
	Ruler        : Anonymous Year        : Earlier issue Unit          : Gold Fanam, 7 mm, 0.36 gm Obverse   : Stylized Shardula to right Reverse    : Stylized Boar with elongated ears Reference : MCSI1 Pg 252 variation
	Ruler        : Changalvarasa, Coorg Year        :  16th - 17th century AD Unit           : Gold Fanam, 7 mm, 0.38 gm Obverse   : Inverted Shardula looking like Kali ! Reverse    : Stylized boar Reference : None
	Ruler        : Travancore Rajas Year        : Unit          : Gold Fanam, 8 mm, 0.38 gm Obverse   : Stylistic lean shardula to right Reverse    : Stylized boar Reference : None

Catalogue - Page 3

	Ruler        : Rajas of Cochin Year        : Pre 1663 Unit          : Gold Fanam, 8 mm, 0.38 gm Obverse   : Stylized lean shardula to right Reverse    : Stylished boar with elongated ears Reference : Ganesh Girijapathi S-1 type
	Ruler        : Rajas of Cochin Year        : Pre 1663 Unit          : Gold Fanam, 8 mm, 0.38 gm Obverse   : Stylized lean shardula to right Reverse    : Stylized boar with elongated ears Reference : MCSI2 1243
	Ruler        : Rajas of Cochin Year        : Pre 1663 Unit          : Gold Fanam, 8 mm, 0.38 gm Obverse   : Stylized Shardula, variation in crescent mark Reverse    : Stylized boar with elongated ears Reference : MCSI2 1243 variation
	Ruler        : Rajas of Cochin (Malabar coast) Year        :  Pre 1663 AD Unit           : Gold Fanam, 9 mm, 0.4 gm Obverse   : Shardula with narrow snout/shoulder Reverse    : Stylized boar ? Reference : MCSI2 1244
	Ruler        : Nayakas of Chitradurga Year        : 1562 AD or later Unit          : Gold Fanam, 8 mm, 0.38 gm Obverse   : More realistic lean shardula to right Reverse    : Inverted boar, legend "Pra" below Reference : MCSI1 884
	Ruler        : Nayakas of Chitradurga Year        : around 17th century AD Unit          : Gold Fanam, 8 mm, 0.38 gm Obverse   : Stylized lean shardula to right Reverse    : Inverted boar, legend "Pra" below Reference : MCSI1 883

Catalogue - Page 4

	Ruler        : Travancore Rajas Year        : 1565 AD Unit          : Gold Fanam, 8 mm, 0.38 gm Obverse   : Stylized lean shardula to right Reverse    : Inverted boar / Legend "Pa below" Reference : MCSI2 1191 type
	Ruler        : Rajas of Travancore (anataraya fanam) Year        : Mid 18th to 19th century AD Unit           : Gold fanam, 8mm, 0.40 gm Obverse   : Shardula transformed to flower! Reverse    : Misinterpreted boar ! Reference : MCSI2 1224, Scarce
	Ruler        : Colonial rule or Jeweller's Copy Year        : 18th - 19th century AD ? Unit          : Gold Fanam, 7 mm, 0.38 gm Obverse   : Shardula looks like bear! Reverse    : Boar looks like rabbit! Reference : None
	Ruler        : Later Pandyas Year        : 17th century AD/font> Unit          : Gold Fanam, 9 mm, 0.38 gm Obverse   : Stylzed Lion/crescent Reverse    : Pellets Reference : None

https://www.forumancientcoins.com/india/southind/hoysala/south_hoysala.html

Cholas

Catalogue - Page One
Note on parasol as a hieroglyph:  Ta. kuṭai umbrella, parasol, canopy. Ma. kuṭa umbrella. Ko. koṛ umbrella made of leaves (only in a proverb); keṛ umbrella. To. kwaṛ id. Ka. koḍe id.,parasol. Koḍ. koḍe umbrella. Tu. koḍè id. Te. goḍugu id., parasol. Kuwi (F.) gūṛgū, (S.) gudugu, (Su. P.) guṛgu umbrella (< Te.). / Cf. Skt. (lex.) utkūṭa- umbrella, parasol. (DEDR 1653).. Rebus: koD 'workshop'. Ta. koṭṭakai shed with sloping roofs, cow-stall; marriage pandal; koṭṭam cattle-shed; koṭṭil cow-stall, shed, hut; (STD) koṭambe feeding place for cattle. Ma. koṭṭil cowhouse,shed, workshop, house.Ka. koṭṭage, koṭige, koṭṭige stall or outhouse (esp. for cattle), barn, room. Koḍ. koṭṭï shed. Tu. koṭṭa hut or dwelling of Koragars; koṭya shed, stall. Te. koṭṭā̆mu stable for cattle or horses; koṭṭāyi thatched shed. Kol. (Kin.) koṛka, (SR.) korkā cowshed; (Pat., p. 59) konṭoḍi henhouseNk. khoṭa cowshed. Nk. (Ch.) koṛka id. Go. (Y.) koṭa, (Ko.) koṭam (pl. koṭak) id. (Voc. 880); (SR.) koṭka shed; (W. G. Mu. Ma.) koṛka, (Ph.) 
korka, kurka cowshed (Voc. 886); (Mu.) koṭorla, koṭorli shed for goats (Voc. 884). Malt. koṭa hamlet. / Influenced by Skt. goṣṭha-. (DEDR 2058)

	Ruler         : Uttama Chola Year         : 973 - 985 AD Unit          : Silver Kahavanu, 20mm, 4.20 gm Obverse   :  Seated tiger (Bow behind) facing two                   upright fishes, two torches beside                   Umbrella and two whisks above Reverse    : Nagari legend - Uttama Chola Reference : MCSI2 326, R kola 'tiger' rebus: kolhe 'smelter' dula 'pair' rebus: dul 'cast metal' PLUS ayo 'fish' rebus: aya 'iron' ayas 'metal'
	Ruler         : Uttama Chola Year         : 973 - 985 AD Unit          : Lead Kahavanu (silver mix), 17mm, 2,80 gm Obverse   :  Seated tiger (Bow behind) facing two                   upright fishes, two torches beside                   Umbrella and two whisks above Reverse    : Nagari legend - Uttama Chola Reference : MCSI2 232 type, RR
	Ruler         : Rajendra Chola Year         : 1012 - 1044 AD Unit          : Eigth kahavanu 0.5 gm, 9mm, Gold Obverse   : Seated tiger (Bow behind) facing                   two upright fishes, Umbrella above. Reverse    : Legend "Yuddha Malla" in nagari Reference : MCSI2 330, R, ex.Karur
	Ruler        :  Rajendra Chola Year         :  1012 - 1044 AD Unit          :  Silver Kahavanu, 20mm, 4.1 gm Obverse   :  Seated tiger (Bow  behind) facing two                   upright  fishes, Glowing lamp on 2 sides.                   Below : Gangai Konda Chola(Nagari) Reverse    :  As on obverse Reference : MCSI2, #333, Scarce (ex.Karur)
	Ruler        :  Rajendra Chola Year         :  1012 - 1044 AD Unit          :  Kahavanu, 4.2 gm, 40% gold Obverse   :  Seated tiger (Bow  behind) facing two                   upright  fishes, Glowing lamp on 2 sides.                   Below : Gangai Konda Chola(Nagari) Reverse    :  As on obverse Reference : GCOT #1.38, RR (ex.Karur)
	Ruler        :  Rajendra Chola Year         :  1012 - 1044 AD Unit          :  Kahavanu, 4.1 gm, Electrum Obverse   :  Seated tiger (Bow  behind) facing two                   upright  fishes, Glowing lamp on 2 sides.                   Below : Gangai Konda Chola(Nagari) Reverse    :  As on obverse Reference : GCOT #1.38, RR (ex.Karur)

Catalogue - Page Two

	Ruler        : Sri Rajendra Chola Year         : 1012 - 1044 AD Unit          : Kahavanu, Gold, 19mm, 3.9gm Obverse   : Seated tiger (Bow  behind) facing                   two upright fishes, Lamp on two sides.                   Below : Sri Rajendrah (Nagari) Reverse    : As above Reference : GCOT #1.35 - RR, ex.Karur
	Ruler        : Raja Raja Chola Year         : 985 - 1014 AD Unit          : Silver Kahavanu, 19mm 3.70 gm Obverse   : King standing with conch in left hand                   Right hand is above the glowing lamp Reverse    : Seated King with raised arm on rt leg                   Legend Sri Raja Raja on right half Reference : GCOT #1.9, Scarce
	Ruler        : Raja Raja Chola Year         : 985 - 1014 AD Unit          : Copper kasu, 18mm 3.47 gm Obverse   : King standing with conch in left hand                   Right hand is above the glowing lamp Reverse    : Seated King with raised arm on rt leg                   Legend Sri Raja Raja on right half Reference : MCSI2 338, CC
	Ruler        : Raja Raja Chola Year         : 985 - 1014 AD Unit          : Ae kasu, 12mm thin, reduced weight Obverse   : King standing with conch in left hand                   Right hand is above the glowing lamp Reverse    : Seated King with raised arm on rt leg                   Legend Sri Raja Raja on right half Reference : MCSI2 338 type
	Ruler        : Rajadhiraja I Year         : 1018-1054 AD Unit          : Gold kahavanu, 17mm 3.47 gm Obverse   : King standing with conch in left hand                   Right hand is above the glowing lamp                   Legend Sri Raja Raja on right half Reverse    : Seated King facing seated tiger Reference : GCOT #1.42, Rare
	Ruler        : Rajadhiraja I Year         : 1018-1054 AD Unit          : Silver kahavanu, 17mm 3.47 gm Obverse   : King standing with conch in left hand                   Right hand is above the glowing lamp                   Legend Sri Raja Raja on right half Reverse    : Seated King facing seated tiger Reference : GCOT #1.42 type, Scarce
	Ruler         : Rajaraja Chola Year         : 9852 - 1014 AD Unit          : Eigth kahavanu 0.5 gm, 9mm, Gold Obverse   : Seated tiger (Bow behind) facing                   two upright fishes, Umbrella above. Reverse    : Legend "Jaya Chola" in nagari Reference : GCOT #1.7
	Ruler         : Rajaraja Chola Year         : 9852 - 1014 AD Unit          : Eigth kahavanu 0.5 gm, 9mm, Gold Obverse   : Seated tiger (Bow behind) facing                   two upright fishes, Umbrella above. Reverse    : Blundered Legend "Jaya Chola" in nagari Reference : GCOT #1.7 Special Note : It was sold as "Uya Kondan Chola!!!"

Catalogue - Page Three

	Issue        : Nellore Telugu Chola rulers, feudatories Reign        : 1216-1316 AD Obverse   : Sri-X2, Moon-sceptre-sun,                   lengend: Bhujabala, Reverse    : Convex and blank Unit          : Gold Varaha 16mm, 3.4g, 7 punchmarks Reference : MCSI1 313, S
	Issue        : Nellore Telugu Chola rulers, feudatories Reign        : 1216-1316 AD Obverse   : Sri(reversed)-X2, Elephant Goad X1,                   LotusX3 punch partial,                   Telugu legend : Bhujabala Reverse    : Convex and blank Unit          : Gold Varaha 16mm, 3.4g, 4 punchmarks Reference : MCSI1 313 type, RR
	Significance : Prototype used by Raja Raja Chola,                   Anonymous coinage of Sri Lanka Year         : 960 - 980 AD Unit          : Gold Kahavanu, 20mm 4.3 gm Obverse   : King seated right holding conch                   Nagari legend : Lamka Vibhu Reverse    : Standing king with ancillary symbols                   to the left and right Reference : MCSI2 311, R, ex Karur
	Ruler        : Prototype used by Raja Raja Chola,                   Anonymous issue of Sri Lanka Year         : 985 - 1014 AD Unit          : Eighth Kahavanu, 10mm 0.53 gm Obverse   : Standing King with conch in left hand Reverse    : Reversed Nagari legend "Aka",                   conch above Reference : MCSI2 283, S, ex Karur

Kayasthas (Kurnool)

Kakatiyas started ruling the eastern deccan during 12th century and the local governorship of the upper Penner valley too changed. the Kayasthas overtook Banas and the Nonambas in ruling the place as governors. Governors Gangeya Sahini, Jannigadeva and Tripuridea took turn in governing the place. Greatest of the successor was Ambadeva (1273 - 1302 AD) who even usurped the Kakatiya throne for some years but could not retain.Ambadeva issued pagodas similar to that of Chalukya with a punch mark technique. He inscribed his coin with the legend "Sr Raja Desapada Eruva Malli" on the success of is campaign against the Eruva chief Eruva Malli.

	Ruler        :  Ambadeva Year         : 1273 - 1302 AD Unit          : Gold Pagoda Obverse   : LotusX5, SriX2 BoarX1, Raya Gaja, Kesari Reverse    : Blank Reference : Spink-Taisei 1991, #211, RRR
	Ruler        :  Ambadeva Year         : 1273 - 1302 AD Unit          : Gold Pagoda Obverse   : LotusX5, SriX2 BoarX1, JAYA GAJA, Kesari Reverse    : Blank Reference : None, RRR

Marathas of Tanjore

The Maratha general Venkaji occupied Tanjore by deposing Alagiri Nayaka in the year 1674. Having secured a foothold in central Tamilnadu, the Marathas achieved further victory in Gingee by defeating Adil Shahis of Deccan. The Marathas ruled for more than a century and issued coinage in both standard and local types. the coins are catalogued in the following page

Catalogue - Page 1
 

	Issue        : Raja Sarabhoji Year        : 1674 - 1799 AD Unit          : Gold Fanam, 7mm, 0.4 gm Obverse   : Chalukya type Lion with raised left foreleg Reverse    : Nagari legend Sri SaRaBho(ji) Reference : Unpublished Tanjore fanam, RR
	Ruler        : Anonymous Maratha ruler Year        :  1674 - 1799 AD Unit           : Gold Fanam, 7 mm, 0.33 gm Obverse   : Garuda transformed into a dot Reverse    : bar and pellet Reference : None
	Ruler        : Anonymous Maratha ruler Year        :  1674 - 1799 AD Unit           : Gold Fanam, 7 mm, 0.33 gm Obverse   : Dagger upright Reverse    : Pellety design Reference : None
	Ruler        : Marathas at Satara Year        :  17th century AD Unit           : Gold Fanam, 7 mm, 0.33 gm Obverse   : Nagari "Pantha Pradhan" Reverse    : blank Reference blank: Marathi ... Nanee - Dilip Balsekar
	Ruler        : Anonymous Maratha ruler Year        :  1674 - 1799 AD Unit           : Gold Fanam, 7 mm, 0.33 gm Obverse   : undeciphered nagari legend Reverse    : undeciphered nagari legend Reference : None, RR

Catalogue - Page 2

 

	Ruler        : Marathas of Tanjore Year        :  1674 - 1799 AD Unit           : Copper 11mm, 2.55 gm Obverse   : Siva Parvathi seated facing Reverse    : Maharaja Reference : MCSI2 783, R
	Ruler        : Marathas of Tanjore Year        :  1674 - 1799 AD Unit           : Copper 13mm, 3.09gm Obverse   : Maha raja (nagari) Reverse    : Mudra Reference : MCSI2 787
	Ruler        : Marathas of Tanjore Year        :  1674 - 1799 AD Unit           : Copper 13mm, 3.09gm Obverse   : Maha raja (err) (nagari) Reverse    : Mudra Reference : MCSI2 788

Marathas of Gingee

The Marathas occupied Gingee in the year 1676 AD by defeating Adil Shahis of the Deccan. Their positioning in Thanjavur gave them this opportunity. Thanjavur (Tanjore) was earlier under Nayakas. The coinage issued by the Marathas in this region were of standard type except for the variation in the character sets.
Catalogue - Page 1
 

	Issue        : Marathas of Gingee Year        : 1676 - 1698 AD Unit          : Gold Fanam Obverse   : Sri Raja (Siva) Reverse    : Chatra pati Reference : None, RR
	Issue        : Dutch, Nagapatnam Year        : 1747 - 1784 AD Unit          : Gold Fanam, 5mm, 0.38 gm Obverse   : Stylized lion/crescent Reverse    : Nagari legend Ram Rao? Reference : Scholten 1257
	Issue        : Dutch, Nagapatnam Year        : 1747 - 1784 AD Unit          : Gold Fanam, 5mm, 0.38 gm Obverse   : Stylized lion/crescent Reverse    : Nagari legend Ram Rao? Reference : Scholten 1257
	Issue        : Dutch, Tuticorin Year        : 1747 - 1784 AD Unit          : Gold Fanam, 8mm, 0.38 gm Obverse   : Stylized lion/crescent Reverse    : Nagari legend Ram Rao? Reference : None
	Issue        : Dutch, Tuticorin Year        : 1747 - 1784 AD Unit          : Gold Fanam, 9mm, 0.38 gm Obverse   : Stylized lion/crescent Reverse    : Nagari legend Ram Rao? Reference : None
	Issue        : Dutch, Coromondal Year        : 18th century AD Unit          : Gold Fanam, 8mm, 0.38 gm Obverse   : Stylized lion/crescent Reverse    : Globule Reference : Scholten 1232

Catalogue - Page 2
 

	Ruler        : Marathas of Gingee Year        :  1676 - 1698 AD Unit           : Copper 20mm, 10.95 gm Obverse   : Sri Raja Siva Reverse    : Chatra Pati Reference : MCSI2 718
	Ruler        : Marathas of Gingee Year        :  1676 - 1698 AD Unit           : Copper 14mm, 3.2gm Obverse   : Sri Raja Siva Reverse    : Chatrapati Reference : MCSI2 721
	Ruler        : Anonymous Nayaks style Year        :  1676 - 1698 AD Unit           : Copper 13mm, 3.26 gm Obverse   : Siva Parvathi seated on a bull Reverse    : Kannada Sri with sun and moon Reference : MCSI2 728
	Ruler        : Anonymous Nayaks style Year        :  1676 - 1698 AD Unit           : Copper 13mm, 3.26 gm Obverse   : Siva Parvathi seated on a bull Reverse    : Kannada Sri with sun symbol Reference : MCSI2 728 variation
	Ruler        : Raja Ram Year        :  1690 - 1698 AD Unit           : Copper 13mm, 3.14 gm Obverse   : Siva Parvathi seated facing Reverse    : Dagger, beside Ra Ma Reference : MCSI2 732

Post Chola era (Tamilnadu)

ARCOT

The Chola power declined gradually in the 13th century, most of the south of Tamilnadu went to Pandyas and the Arcot was partly under Hoysala influence and partly ruled under Perunjigas and their Pandya successors. The coins that circulated in the south Arcot district during this period are common though they all typically followed Chola prototype, the initial ones have had the character "Kho" meaning Royalty. The Perunjigas followed Pallava emblem of Bull on the obverse whereas the reverses were of Chola standing King formula. After 1278, South Arcot came under the rule of later Pandyas. The commoner of the coins is Konerirayan issue. Koneri Rayan literally means King Koneri and was the title used by Kolottunga III, Sundara Pandyan and by those of later Pandyas.

PANDYAS OF MADURAI

Though the second Pandyan kingdom was established earlier, it fell to Cholas invasion but soon regained its independence at 1210 AD. Jatavarman Kulasekara became the independent king of Madurai followed by Maravarman Sundara Pandya, Jatavarman Sundara Pandya and so on. Maravarman Kulasekara Pandya, Jatavarman Sundara Pandya-II, and Jatavarman Sundara Pandya-III became the last rulers of the kingdom, but the Pandya kingdom could not survive after1325 AD due to the attack of Ghiyath-al-din Tughluq Sultan's southern campaign. Pandyas issued coinage in Chola style but with a Pandyan emblem FISH sometime single and sometime double. the quality of engraving and the artistic intricacy degraded as the time passed by.

VENAD CHERAS

Kulottunga Chola suffered military reverses in the north and following his death in 1120 AD - the Chola power totally weakened. It was the time, Venad Cheras conquered Tirunelveli district and continued the coinage in Chola style but with different themes. Battle axe type coins became very common and well known to the economy and underwent gradual degeneration in style.

BANAs of MADURAI, RAMNAD

It was during Mallikarjuna Raya's (of Vijayanagara kingdom) reign, Banas controlled much of Madurai and Ramnad (Ramanathapuram). From the inscriptions, it appears that Irangavillidasan Navali Vanaraya Bana, Bhuvaneka Vira Samara Kolahala, Sundar Tol-udaiyan, Tirumal Irunjolai Mahabali Bana were the chiefs at Madurai as well as Ramnad. They minted coins from Madurai with Garuda on the obverse and their title on the reverse. Beautifully engraved coins appeared in Vijayanagara style, and the artistic beauty was superior. 

Perunjigas & Later Pandyas

Catalogue - Page One

	Ruler         : Lately attributed to Madura Nayakas Year         : 1221 - 1278 AD Unit          : Copper, 17mm, 2.81 gm, Gingee Obverse   :  Humped bull standing right, crescent above Reverse    : Standing king, lamp and pellets Reference : MCSI2 358, C
	Ruler        : Koneri Rayan Year         : 1325 - 1362 AD Unit          : Copper, 16mm 3.32 gm Obverse   : Humped bull to left, dagger in front Reverse    : Tamil : Koneri Rayan Reference : MCSI2 363, S
	Ruler         : Lately attributed to Madura Nayakas Year         : 1335 - 1364 AD Unit          : Copper, 15 mm, 3.29 Obverse   : Humped bull to right, crescent above,                   Nagari "Vi" in front Reverse    : Standing King, lamp and pellets beside Reference : MCSI2 369
	Ruler        :  Viswanatha pandiyan Year         :  1529-64 AD Unit          :  Copper, 16mm, 3.49 gm Obverse   :  Two fishes seperated by a line                   upright  Tamil legend below Reverse    :  Standing king, lamp to left Reference : None

Catalogue - Page 1a

	Ruler        :  Sundara Pandyan Year         :  1310 - 1314 AD Unit          :  Copper, 16mm, 1.76 gm Obverse   :  Tamil legend : Sundara Pandiyan Reverse    :  Two fishes Reference : None
	Ruler        :  Jatavarman Sundara Pandya I Year         :  1251 - 1268 AD Unit          :  Copper, 18mm, 2.24 gm Obverse   :  Fishes between lamps,legend: Ellantalaiyanan Reverse    :  Legend : Standing figure Reference : MCSI2 387
	Ruler        :  Jatavarman Sundara Pandya I Year         :  1251 - 1268 AD Unit          :  Copper, 19mm, 3.79 gm Obverse   :  legend: Ellantalaiyanan between fishes Reverse    :  Legend : Standing figure Reference : MCSI2 386
	Ruler        :  Anonymous Year         :  13th cent AD? Unit          :  Copper, 19mm, 3.49 gm Obverse   :  Discus + shell ? Reverse    :  Fish Reference : None

Venad (Cheras)Catalogue - Page Two

	Ruler         : Anonymous Year         : 1118 - 1160 AD Unit          : Copper, 14mm, 3.89 gm Obverse   :  Seated King in Chola style and battle axe Reverse    : Standing king and lozenge symbol to rt Reference : MCSI2 458
	Ruler         : Anonymous Year         : 1118 - 1160 AD Unit          : Copper, 14mm, 3.89 gm Obverse   :  Seated King in Chola style and battle axe Reverse    : Standing king and lozenge symbol to rt Reference : MCSI2 458
	Ruler         : Anonymous Year         : 1118 - 1160 AD Unit          : Copper, 14mm, 3.89 gm Obverse   :  Seated King in Chola style & battle axe Reverse    : Standing king, sun and moon by side Reference : MCSI2 460
	Ruler         : Anonymous Year         : 1118 - 1160 AD Unit          : Copper, 14mm, 3.89 gm Obverse   :  Seated King in Chola style and "Cha" Reverse    : Standing king and lamp & pellets Reference : MCSI2 458

Banas (Madurai & Ramnad)Catalogue - Page Three

	Ruler         : Samarakolakalan Year         : 1469 - 1476 AD Unit          : Goldfanam, 0.38gm Obverse   :  Garuda running right, holding conch + discus Reverse    : Stylished Lion/Crescent Reference : None
	Ruler         : Samarakolakalan Year         : 1469 - 1476 AD Unit          : Copper, 18mm, 3.15 gm Obverse   :  Garuda running left, holding conch + discus Reverse    : Tamil : Samara/Kola/Kalan Reference : MCSI2 571
	Ruler         : Samarakolakalan Year         : 1469 - 1476 AD Unit          : Copper, 18mm, 3.15 gm Obverse   :  Garuda running left, holding conch + discus Reverse    : Tamil : Samara/Kola/Kalan Reference : MCSI2 572
	Ruler         : Samarakolakalan Year         : 1469 - 1476 AD Unit          : Copper, 18mm, 3.15 gm Obverse   :  Garuda running left,conch+discus+legend Reverse    : Tamil : Samara/Kola/Kalan Reference : MCSI2 573
	Ruler         : Samarakolakalan Year         : 1469 - 1476 AD Unit          : Copper, 18mm, 3.15 gm Obverse   :  Garuda running left,holding conch+discus Reverse    : Tamil:Samara/Kola/Kalan between lines Reference : MCSI2 568

Kakatiyas (Warangal)

The Kakatiyas, the feudatories to Pallavas turned into the feudatory of Western Chalukyas. Prola-III Kakatiya who was a feudatory to Chalukya, assumed independence in 1126 AD. With the constant fear from Cholas and Western Chalukyas, he positioned himself well in Warrangal. In the year 1154 AD, Prola Kakatiya defeated the Chalukyan KingTaila-III. With the Kalachuri revolt against Chalukyas, Kakatiyas strengthened their realm. Pratapa Rudra-I (1163 - 1199) ruled over the powerful kingdom. His sonMahadeva (1195 - 1198) could not rule for long as he was killed in the battle by Jaitugi Yadava (1198). But Yadava allowed Mahadeva's son Ganapathi to rule. His daughter succeeded him (1266 - 1291) but soon suffered a reverse in the hand of Yadavas and Kayasthas. Her son Pratapa Rudra-II succeded her and ruled until he was defeated byMalik Kafur in 1309 AD. Pratapa Rudra signed a treaty to retain his kingdom but soon was attacked by the Bahamanis during his son Krishna's reign (1344). Though lots of coins were minted by them, very few are known so far. They typically resembled the punchmarked coins of Chalukyas and Kayasthas. Below is one of the rare coin of Pratapa Rudra.

Ruler        :  Rajula Reddy Year         : ???? AD Unit          : Gold fanam with rev punch Obverse   : Lion to lt, facing backward, Sun, moon above Reverse    : Blank Reference : None, RRR

Kingdom of Kampili

The governors of Hoysala, Singeya Nayaka-III (1280 - 1300) declared independance to the kingdom of Kampili around 1280 AD. Soon the kingdom faced attack by the Yadava king Ramachandra but the latter was replused. His son Kampiladeva (Khandeyaraya) ascended the throne in the year 1300 AD, but soon entered into conflict with the Hoysalas. The kingdom faced constant threat for the powerful kingdom from Hoysalas and Yadavas. But in 1327, the Muslim expedition too toll of Ramachandra Yadava and his kingdom as well as Kampiladeva's and opened up for the Muslim rulers. With the muslim hold on Kampili weakening, Hoysala king Vira Ballala-III took advantage and occupied Hampi and appointed Harihara and Bukka to administer Kampili. So the small powerful kingdom soon became a cause to yet another growing mighty Hindu empire to crush the Muslim rule.Kampili coinage though unique compared to the contemporary Hoysala coinage, left a deep shadow on the coinage of their successor dynasty, Vijayanagara. The dagger of Kampili coinage and a running warrior of later Chalukya coinage (Someswara IV Chalukya) seems to have left a strong imprint on Veera Harihara and Bukka's coinage. A very small number of coins are minted by this kingdom in both silver and gold. They carried "Conch and Discus accousted by a vertically placed dagger" on the obverse and the nagari legend "Sri Siyadi Kampiladeva" on the reverse of gold coins and beaded circle in the case of silver.

Ruler        :  Kampiladeva Year         : 1300 - 1327 AD Unit          : Gold pagoda, 12mm, 3.8gm Obverse   : Upright dagger between conch and discus Reverse    : Nagari: Sri Si(ya)di Kampiladeva Reference : MCSI1, #306, RR

Wodeyas
FANAMS

Kantirava Narasa (1638 - 1662 AD) was the first king of Mysore to issue the coinage with inscriptions.  His fanams with Lord Narasimha created a series of fanams which numismatically became known as Kantirava Fanams. Another two series of remarkable fanams which took the name Siva-Parvathi (originally minted by Sadasiva Nayaka of Ikkeri) and the Hoysala's Stylished Lion/Boar fanam" under the name Viraraya Fanam.There are two well noted Kantirava type of fanams.  Indeed they both have the Narasimha on obverse. Narasimha is the fourth reincarnation of Lord Vishnu with human body(Nara means man) and Lion (Simha means Lion) face.  The "Yogabhanda" pose is well depicted in the earlier Kanteerava coinage. The meditation pose with legs folded inward and the holy thread (Janeva) going around both his knees which virtually supports the posture, is well engraved.  HE holds in his upper hands the stylished attributes of a flaming chakra and a flaming conch, his lower arms resting on his knees.   The earlier dies seems to have been engraved with the superior workmanship of the engraver, and the legible one or two characters makes us to conclude that they are the earlier prototypes. Thus it could be believed that the early examples were probably issued during the reign of Kantirava Narasa Raja (1638 - 1659). Upon Tipu's death, the Kantirava fanam resurfaced due to the minting by Deevan Purnaiya during Krishna Raja Wodeyar-III (1799-1812).
The wide popularity of the Kantirava fanams influenced several dynasties of the south along the coromondal cost to struck these type of fanams but the legends are corrupted and the metal is more debased with degenerated obverse device.  There are reports that the same type were also issued by the Nayakas of Sira. The Kantirava fanam seems also to have been imitated by the British at Madras and perhaps even by the Dutch at Pulicat, Negapatnam and Tuticorin.  These fanams eventually carried the name "New Canteroy".  The die variations, complexity and the long period over which these were struck makes it hard to be attributable to particular ruler or the trading company.
For those who are curious to know what does this "Yoga Narasimha" symbol represents, here is the answer. To be immortal,  Hiranya kashyapa had obtained from GodBramha immunity of attack from human beings or beasts.  This king then went on abusing his royal powers and began forcing his subjects to worship him as their God.  Among those opposed to accept him was his own son, Prahlada a staunch worshiper of Lord Vishnu.  In order to surmount Bramha's condition, Vishnu assumed a form that was neither human nor beast, but a combination of both, and then went on to finish off this cruel person with his nails.  After he finishes the cruel Hiranya Kashyapa, he becomes very furious, and the pose is known as UGRA NARASIMHA.  Subsequently his disciple Prahlada, the saints and Gods who witnessed the scene, prays him to be cool and Narasimha undergoes a deep meditation with yoga mudra, and with that posture he is known Yoga Narasimha.

---

PAGODA
 

Tuluva dynasty ruler Vira Sadasiva Raya (1543 - 1570) of the Vijayanagara kingdom came out    with the new styled "Vishnu sitting on pita with his right leg footed on the ground, and on the left lap seated Laksmi stretching left leg down, Both in sitting pose" on his coin obverse.  He  carried Damaru and Trident as seen in his coinage.  When Ikkeri Nayakas were granted the governorship (Nayaka patta as called in Kannada), they depicted the similar style of obverse device but swapped with Siva and Parvathi (Nayakas were Saivites??), and the reverse also showed Sri Sadasiva instead of "Sri Sadashiva Rayaru". There were two Nayakas in succession with incidentally carrying the same name, namely Sadasiva Nayaka, and the Immadi (second) Sadasiva Nayaka (1544 - 1567, 1567 - 1570) who were the governors for Vira Sadasiva raya, but were ruling quite independently.Hyder Ali took control of Ikkeri in 1761, he acquired their treasury and was influenced to use this widely accepted coinage with the same obverse device on his coinage, but the reverse was turned out to the persian "He" in a granular field.  His coinage carried the new term "Bahaduri pagodas" while compared to the old classical term "Ikkeri Pagodas".  Bednur was renamed as Hydernagar during his reign and remained as the mint of that time.  But during Tipu's reign, coinage nomenclature took further turn to be called as "Sultani and Faruqi" pagodas.
When Mysore was handed over to Sri Krishna Raja Wodeyar by the British in 1799 (the year of Tipu's death in the Srirangapatna battle),  the coinage system was reformed by the then regent Dewan Purnaiya.  He implemented the same good old popular obverse design of Ikkeri Nayakas (of Keladi family of Bednur), but the reverse was engraved with "Sri Krishna Raja".  Probably because both Ikkeri Nayakas pagodas and Krishna Raja's new issues were floating in the market in large numbers, these new pagodas were termed "New Ikkeri" in the shroff jargon.
P.S : The predecessor of Vira Sadasiva raya (e.g., Devaraya-I and Devaraya-II) had almost  similar device of seated Siva Parvathi, but Siva is in Padmasana style.  The design was much more compact.

                Ruler         :  Kantirava Narasa Raja Wodeyar

Year          : 1638 - 1662 AD

Unit           :  Half pagoda, Gold, 9 mm, 1.69gm

Obverse    :  Seated Lakshmi Narasimha

                   holding Shanku and Flame wheel

Reverse     :  "Sri, Kam(ti) ravanara sara(ya)

Reference  : MCSI1 909, RRR

                Ruler        :  Kantirava Narasa Raja Wodeyar

Year         : 1638 - 1662 AD

Unit          :  Fanam, Gold, 5 mm, 0.34gm

Obverse   :  Narasimha in Yogabandha mudhra

                   hands on his knees

Reverse    :  "Sri, Kamti rava

Reference :  MCSI1 910, C

Ruler        :  Chikka Devaraya

Year         : 1672 - 1704 AD

Unit          :  Half Pagoda, Gold, 12 mm, 1.52gm

Obverse   :  Baby Krishna, Kalinga mardhana,

                   beneath the arch

Reverse    :  Ruler's name

Reference :  MCSI1 930 type, RR

                

Ruler         :  Kantiravanarasa Wodeyar

Year          : 1638 - 1662 AD

Unit           : Gold fanam

Obverse    :  Shardula to left looking backward,

as seen in Poornaiya's copper coinage

Reverse     :  "Sri Sri Kantirava Narasaraja ??"

Reference  : Probably Unpublished

               

  Ruler         :  Krishnaraja Wodeyar-III

Year          : 1799 - 1868 AD

Unit           : Gold Pagoda, 13mm, 3.49gm

Obverse    :  Siva on Peeta with Parvati on his lap

 Siva's right leg touching ground, left leg on pita.

Reverse     :  "Sri Krishna Raja"

Reference  : MCSI1 1089, C

                

Ruler         :  Krishnaraja Wodeyar

Year          : 1799 - 1868 AD

Unit           :  Fanam, Gold, 6 mm, 0.36gm

Obverse    :  Narasimha in Yogabandha mudhra

                   hands on his knees

Reverse     :  Formalized legend "Sri Kantirava"

Reference  :  MCSI1 1093, CC

                

Ruler         :  Krishnaraja Wodeyar

Year         : 1799 - 1868 AD

Unit          :  Rupee, Silver, 22 mm, 11.48gm

Obverse    :  Shah Alam-II

Reverse     :  Zarb Mahisur sanat "  "

Reference  :  MCSI1 1095 type, C

                

Ruler         :  Krishnaraja Wodeyar

Year          : 1799 - 1868 AD

Unit           :  1/4th Rupee, Silver, 22 mm, 11.48gm

Obverse    :  Dancing Chamundi

Reverse     :  Krishnaraja Wodeya, zarb Mahisur 

                    sikka

Reference  :  MCSI1 1096, S

Catalogue Page Two

	Ruler         :  Purnaiya for Krishna Raja Wodeyar Year          : 1799 - 1810 AD Unit           :  Copper 25 Cash, 25mm Obverse    :  Sardula, Sri Chamundi, sun & moon                    both the sides Reverse     :  "Krishna, Maili kasu 25 XXV Cash Reference  : MCSI1 1097
	Ruler         :  Krishna Raja Wodeyar Year          : 1799 - 1810 AD Unit           :  Copper 20 Cash, 22mm Obverse    :  Sardula, Sri Chamundi, sun & moon                    both the sides, Year 1837 Reverse     :  "Krishna", zarb maisur                    Maili kasu 20 XX Cash Reference  : MCSI1 1013
	Ruler         :  Krishna Raja Wodeyar Year          : 1799 - 1810 AD Unit           :  Copper 20 Cash, 22mm Obverse    :  Sardula, Sri Chamundi, sun & moon                    both the sides, Year 1838 Reverse     :  "Krishna", zarb maisur                    Maili kasu 20 XX Cash Reference  : MCSI1 1013
	Ruler         :  Krishna Raja Wodeyar Year          : 1799 - 1810 AD Unit           :  Copper 20 Cash, 22mm Obverse    :  elephant, Sri Chamundi, sun & moon                    both the sides Reverse     :  "Krishna, Maili kasu ippaththu XX Cash Reference  : MCSI1 1013
	Ruler         :  Krishna Raja Wodeyar Year          : 1799 - 1810 AD Unit           :  Copper 20 Cash, 20mm Obverse    :  elephant to left, Sri, sun & moon                    both the sides Reverse     :  "Cha"& maili kaasu ippaththu Reference  : MCSI1 1100 type but with "Cha" on rev
	Ruler         :  Krishna Raja Wodeyar Year          : 1799 - 1810 AD Unit           :  Copper 20 Cash, 20mm Obverse    :  elephant to left, Sri, sun & moon                    both the sides Reverse     :  maili kaasu ippaththu Reference  : MCSI1 1100
	Ruler         :  Krishna Raja Wodeyar Year          : 1799 - 1810 AD Unit           :  Copper 10 Cash, 13mm Obverse    :  Sardula, Sri, sun & moon                    both the sides, Year 1839 Reverse     :  "Krishna, 10, zarb maisur Reference  : None
	Ruler         :  Krishna Raja Wodeyar Year          : 1799 - 1810 AD Unit           :  Copper 5 Cash, 10mm Obverse    :  Sardula, Sri, sun & moon                    both the sides, Year 1834 Reverse     :  "Krishna, 5, zarb maisur Reference  : None
	Ruler         :  Krishna Raja Wodeyar Year          : 1799 - 1810 AD Unit           :  Copper 6.5 Cash, 12mm Obverse    :  Sardula, Sri, sun & moon                    both the sides Reverse     :  "Krishna, zarb maisur Reference  : MCSI1 1098
	Ruler         :  Krishna Raja Wodeyar Year          : 1799 - 1810 AD Unit           :  Copper 5 Cash, 12mm Obverse    :  elephant to left, Sri, sun & moon                    both the sides Reverse     :  V Cash/ maili kaasu V Reference  : MCSI1 1101

HYDER ALI

During the reign of Krishnaraja Wodeyar-II, Hyder Ali was a commander in chief of Mysore.  He soon became the de-facto ruler of the Mysore kingdom.  He conquered Bednore, Sandra, Sira, Canara and Guti.  The growing power of Hyder Ali was a threat to the Nizams of Hyderabad, the English and the Marathas.  The latter formed an alliance and fought the famous 1st war of Mysore.  The brave Hyder Ali, with his son's involvement fought the war and the British suffered heavy casualties.  British had to sue for peace, and the treaty was signed which in fact defended Hyder from further attacks.  The First Mysore was ended in favour of Hyder Ali.
 

TIPU SULTAN
(1750 - 1799 AD)The Tiger of Mysore was the title for this brave son of Hyder, who was a terror to the British.  During the first war, the British were badly beaten by him.  He continued his struggle against British and their allies Nizam Shahi and the Marathas.
In 1789, he allied with the French, and dared to attack Travancore which was under British protection.  The grave mistake lost him half of his territory.  In 1799, the British with 16000 men of Colonel Arther Wellesley, 21000 men of General Harris and 6000 force of British force marched to Srirangapatna and broke through the fort of Srirangapatna in surprise.  Tipu rushed to the spot to defend his kingdom but was shot to death by the British army. Tipu lost his life, but not the fame that he left behind.  The great king who was a nightmare to the British left Mysore to be ruled by the Wodeyars again. 

Catalogue Page - 1

	Ruler         :  Tipu Sultan Year         : 1763 - 1782 AD Unit          : Ahmadi pagoda, 13.6gm, PAtan Obverse   :  Persian Legend Reverse    :  Persian legend Reference : KP #B129 type, RR
	Ruler         :  Hyder Ali Year         : 1761 - 1763 - 1782 AD Unit          : Bahaduri pagoda (Ikkeri type), 14 mm Obverse   :  Siva with Parvati on the lap                    Siva holds Damaru & trident Reverse    :  "He"in persian Reference : MCSI1 1048, C
	Ruler        : Tipu Sultan in his father's name Year         : 1763 - 1782 AD Unit          : Faruqi Pagoda, gold 13mm, 3.40gm Obverse   : Persian Legend Reverse    : Persian Legend "He" in his father's                   name  in granular field, mint "Nagar" Reference :  KP #129 P107
	Ruler        : Tipu Sultan in his father's name Year         : 1763 - 1782 AD Unit          : Faruqi Pagoda, gold 13mm, 3.40gm Obverse   : Persian Legend Reverse    : Persian Legend "He" in his father's name                   in granular field, mint "Korsed Sawad" Reference :  KP #99, P102
	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD Unit          : Sultani Pagoda, gold  13mm, 3.45gm Obverse   : Persian Legend Reverse    : Persian Legend + mint "Patan" Reference :   KP #129A, P102
	Ruler        :  Hyder Ali Year         : 1761 - 1763 - 1782 AD Unit          : Gold fanam (Ikkeri type), 7mm, 0.38gm Obverse    :  Siva with Parvati on the lap                    Siva holds Damaru & trident Reverse     :  "He"in persian Reference  : MCSI1 1048

Catalogue Page - 2

	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD, 6mm 0.35gm Unit          : Gold Fanam Obverse   : Viraraya Shardula Reverse    : Persian "He" and row of pellets Reference : MCSI1 1050
	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD, 6mm 0.35gm Unit          : Gold Fanam Obverse   : Persian Legend "He" Reverse    : Mint Nagar, 1216 Reference : COTS, G P Taylor, C
	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD, 6mm 0.35gm Unit          : Gold Fanam Obverse   : Persian Legend "He" Reverse    : Mint Farrukhi, 1216 Reference : COTS, G P Taylor, C
	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD, 6mm 0.35gm Unit          : Gold Fanam Obverse   : Persian Legend "He" Reverse    : Mint Calicut, 1200 Reference : KP #78/P102, C
	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD, 6mm 0.35gm Unit          : Gold Fanam Obverse   : Persian Legend "He" Reverse    : Mint Pattan, 1217 Reference : KP #128/P106, C
	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD, 4mm 0.17gm Unit          : Gold Fanam, lower wt Obverse   : Persian Legend "He" Reverse    : Mint Pattan Reference : KP #9 P107, RR

Catalogue Page - 3

	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD Unit          : Silver Rupee, Patan, 11.6gm Obverse   : Persian legend Reverse    : Persian legend, Yr 1216 Reference : KP #126
	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD Unit          : Copper Pice, 10.56gm Obverse   : Elephant to left, Yr 1218 Reverse    : "Mint Bangalore" Reference : KP #33
	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD Unit          : Copper Pice, 10.56gm Obverse   : Elephant to left, Yr 1218 Reverse    : "Mint Farrukh Yab Hisar" Reference : KP #63
	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD Unit          : Copper Pice, 12.51 gm Obverse   : Elephant to left, Yr 1220 Reverse    : "Mint Patan" Reference : KP #123.3
	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD Unit          : Copper Pice, 11.41gm Obverse   : Elephant to right, Yr 1200 Reverse    : "Mint Calicut" Reference : KP #73
	Ruler        : Tipu Sultan Year         : 1782 - 1799 AD Unit          : Copper Half Pice Obverse   : Elephant to right Reverse    : "Mint Faiz Hisar" Reference : KP #122.4 type

karibha'trunk of elephant'ibha'elephant' rebus: karba'iron'ib'iron'. What started as a heritage of metalwork documentation, Indus Script cipher continues into the historical periods in scores of mints as demonstrated by many rebus readings of hieroglyphs on ancient coins.

S. kalyanaraman
Sarasvati Research Center
April 1, 2016

Je tiens mon affaire! Tvaṣṭr̥ Dhokra kolhe sippi. Indus Script visible language.

April 1, 2016, 9:13 pm

≫ Next: kāraṇī 'helmsman, scribe, supercargo' of Indus Script~~Kernunno of Pilier des Nautes

≪ Previous: Heralding Civilization Bronze Age metalwork heritage. Continuity of Indus Script cipher tradition traced into Punch-marked coins dated ca. 6th cent. BCE

$

0

0

Mirror: http://tinyurl.com/hcn8tlf

Indus Script visible language hypertexts on 12 inscriptions signifies kammaṭa 'mint' with component khambhaṛā 'fish-fin'

Running down the street to find his brother Jean-François Champollion (1790-1832) yelled "Je tiens mon affaire!" (I've got it!) but collapsed from the excitement. This note is a tribute to this exclamation and genius of Champollion. 

I call Bharatam Janam, Tvaṣṭr̥ dhokra kolhe sippi, the lost-wax smelters, sculptors, metasmiths, artificers who invented a writing system of remarkable fidelity and simplicity of the cipher based on rebus method.

Tvaṣṭr̥ is a metaphor for veneration of metalwork artificers, Bhāratam Janam, in Rigveda

Dhokra- root in:  tarkhāṇ (Western Pahadi) 

X  Tvaṣṭr̥ (Rigveda)

ترکانړ tarkāṟṟṉ, s.m. (5th) A carpenter. Pl. ترکانړان tarkāṟṟṉān. (Panjābī).دروزګر darūz-gar, s.m. (5th) A carpenter, a joiner. Pl. دروزګران darūzgarān (corrup. of P درود گر).(Pashto) Taccha1 [Vedic takṣan, cp. taṣṭṛ, to takṣati (see taccheti), Lat. textor, Gr. te/ktwn carpenter (cp. architect), te/xnh art] a carpenter, usually as ˚ka: otherwise only in cpd. ˚sūkara the carpenter -- pig (=a boar, so called from felling trees), title & hero of Jātaka No. 492 (iv.342 sq.). Cp. vaḍḍhakin.1

Tacchati [fr. taccha1, cp. taccheti] to build, construct; maggaŋ t. to construct or repair a road J vi.348.

Taccheti [probably a denom. fr. taccha1=Lat. texo to weave (orig. to plait, work together, work artistically), cp. Sk. taṣṭṛ architect =Lat. textor; Sk. takṣan, etc., Gr.te/xnh craft, handiwork (cp. technique), Ohg. dehsa hatchet. Cp. also orig. meaning of karoti & kamma] to do wood -- work, to square, frame, chip J i.201; Miln 372, 383.(Pali)

துவட்டர் tuvaṭṭar , n. < tvaṣṭṛ. Artificers, smiths; சிற்பியர். (சூடா.)துவட்டா tuvaṭṭā, n. < TvaṣṭāTvaṣṭṛ. Višvakarmā, the architect of the gods; தெய்வத்தச்சனாகிய விசுவகருமா. துவட்டா வீன்ற தனயன் (திருவிளை. இந்திரன்பழி. 8).தொட்டா toṭṭā, n. < TvaṣṭāTvaṣṭṛ. One of tuvātacātittar, q.v.; துவாத சாதித்தருள் ஒருவன். நள்ளிரு ளெறிதொட்டா (கூர்மபு. ஆதவர்சிறப்.).="article" id="தொட்டாச்சி_toṭṭācci"> 
தொட்டாச்சி toṭṭācci, n. < தொட்ட +. ஆய்ச்சி. Godmother; ஞானத்தாய். (W.)

takṣa 5618 takṣa in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ VarBr̥S., vṛkṣa -- takṣaka -- m. ʻ tree -- feller ʼ R. [√takṣ]Pa. tacchaka -- m. ʻ carpenter ʼ, taccha -- sūkara -- m. ʻ boar ʼ; Pk. takkha -- , °aya -- m. ʻ carpenter, artisan ʼ; Bshk. sum -- tac̣h ʻ hoe ʼ (< ʻ *earth -- scratcher ʼ),tec̣h ʻ adze ʼ (< *takṣī -- ?); Sh. tac̣i f. ʻ adze ʼ; -- Phal. tērc̣hi ʻ adze ʼ (with "intrusive" r).

takṣaṇa 5619 takṣaṇa n. ʻ cutting, paring ʼ KātyŚr. [√takṣ]Pa. tacchanī -- f. ʻ hatchet ʼ; Pk. tacchaṇa -- n., °ṇā -- f. ʻ act of cutting or scraping ʼ; Kal. tēčin ʻ chip ʼ (< *takṣaṇī -- ?); K. tȧchyunu (dat. tȧchinis) m. ʻ wood -- shavings ʼ; Ku. gng. taċhaṇ ʻ cutting (of wood) ʼ; M. tāsṇī f. ʻ act of chipping &c., adze ʼ.Addenda: takṣaṇa -- : Pk. tacchaṇa -- n. ʻ cutting ʼ; Kmd.barg. taċə̃ři ʻ chips (on roof) ʼ GM 22.6.71.620 tákṣati (3 pl. tákṣati RV.) ʻ forms by cutting, chisels ʼ MBh. [√takṣ]Pa. tacchati ʻ builds ʼ, tacchēti ʻ does woodwork, chips ʼ; Pk. takkhaï, tacchaï, cacchaï, caṁchaï ʻ cuts, scrapes, peels ʼ; Gy. pers. tetchkani ʻ knife ʼ, wel. tax -- ʻ to paint ʼ (?); Dm. taċ -- ʻ to cut ʼ (ċ < IE. k̂s NTS xii 128), Kal. tã̄č -- ; Kho. točhik ʻ to cut with an axe ʼ; Phal. tac̣<-> ʻ to cut, chop, whittle ʼ; Sh. (Lor.) thačoiki ʻ to fashion (wood) ʼ; K. tachun ʻ to shave, pare, scratch ʼ, S. tachaṇu; L. tachaṇ ʻ to scrape ʼ, (Ju.) ʻ to rough hew ʼ, P. tacchṇā, ludh. tacchanā ʻ to hew ʼ; Ku. tāchṇo ʻ to square out ʼ; N. tāchnu ʻ to scrape, peel, chip off ʼ (whence tachuwā ʻ chopped square ʼ, tachārnu ʻ to lop, chop ʼ); B. cã̄chā ʻ to scrape ʼ; Or. tã̄chibā, cã̄chibā,chã̄cibā ʻ to scrape off, clip, peel ʼ; Bhoj. cã̄chal ʻ to smoothe with an adze ʼ; H. cã̄chnā ʻ to scrape up ʼ; G. tāchvũ ʻ to scrape, carve, peel ʼ, M. tāsṇẽ; Si. sahinavā,ha° ʻ to cut with an adze ʼ. <-> Kho. troc̣ik ʻ to hew ʼ with "intrusive" r.
Addenda: tákṣati: Kmd. taċ -- ʻ to cut, pare, clip ʼ GM 22.6.71; A. cã̄ciba (phonet. sãsibɔ) ʻ to scrape ʼ AFD 216, 217, ʻ to smoothe with an adze ʼ 331.TAÑC: †takmán -tákṣan 5621 tákṣan (acc. tákṣaṇam RV., takṣāṇam Pāṇ.) m. ʻ carpenter ʼ. [√takṣ]Pk. takkhāṇa -- m., Paš. ar. tac̣an -- kṓr, weg. taṣāˊn, Kal. kaṭ -- tačon, Kho. (Lor.) tačon, Sh. thac̣&oarcacute;ṇ m., kaṭ -- th°, K. chān m., chöñü f., P. takhāṇ m.,°ṇī f., H. takhān m.; Si. sasa ʻ carpenter, wheelwright ʼ < nom. tákṣā. -- With "intrusive" r: Kho. (Lor.) tračon ʻ carpenter ʼ, P. tarkhāṇ m. (→ H. tarkhān m.), WPah. jaun. tarkhāṇ. -- With unexpl. d -- or dh -- (X dāˊru -- ?): S. ḍrakhaṇu m. ʻ carpenter ʼ; L. drakhāṇ, (Ju.) darkhāṇ m. ʻ carpenter ʼ (darkhāṇ pakkhī m. ʻ woodpecker ʼ), mult. dhrikkhāṇ m., 
dhrikkhaṇī f., awāṇ. dhirkhāṇ m.

What language did they speak?

A Prakritam gloss with phonetic variants provides the lead: kamad.ha, kamat.ha, 

kamad.haka, kamad.haga, kamad.haya= a type of penance is recognized in sets of hieroglyph-multiplexes on ten inscriptions of Indus Script Corpora. These inscriptions and decipherment are presented.

 

(Haragovindadāsa Trikamacanda Seṭha, 1963,Prakrit-Sanskrit-Hindi dictionary, Motilal Banarsidass, Dehi,p.223)

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'

.

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

gumat.a, gumut.a, gumuri, gummat.a, gummut.a a copula or dome (Ka.); ghumat.a (M.); gummat.a, gummad a dome; a paper lantern; a fire-baloon (H.Te.); kummat.t.a arch, vault, arched roof, pinnacle of a pagoda; globe, lantern made of paper (Ta.)(Ka.lex.); gummaṭ m. ‘dome’ (P.) CDIAL 4217

Other glyphs (glyphemes): gúlma— m. ‘clump of trees’ VS., gumba— m. ‘cluster, thicket’ (Pali); gumma— m.n. ‘thicket’ (Pkt.); S. gūmbaṭu m. ‘bullock’s hump’; gumbaṭ m., gummaṭ f. ‘bullock’s hump’ (L.) CDIAL 4217

rebus: kumpat.i = ban:gala = an:ga_ra s’akat.i_ = a chafing dish, a portable stove, a goldsmith’s portable furnace (Te.lex.) kumpiṭu-caṭṭichafing-dish, port- able furnace, potsherd in which fire is kept by goldsmiths; kumutam oven, stove; kummaṭṭi chafing-dish (Ta.).kuppaḍige, kuppaṭe, kum- paṭe, kummaṭa, kummaṭe id. (Ka.)kumpaṭi id. (Te.) DEDR 1751. kummu smouldering ashes (Te.); kumpōḍsmoke.(Go) DEDR 1752.

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.) 

See: http://bharatkalyan97.blogspot.in/2013/07/witzels-breath-taking-announcement-of.html 

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

meď 'copper' (Slovak)

http://bharatkalyan97.blogspot.in/2015/11/ornamental-endless-knot-svastika-other.html

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.)

                                                                       

http://bharatkalyan97.blogspot.in/2015/11/dance-step-med-in-indus-script.html

Slide 207 Tablet with inscription. Twisted terra cotta tablet (H2000-4441/2102-464) with a mold-made inscription and narrative motif from the Trench 54 area. In the center is the depiction of what is possibly a deity with a horned headdress in so-called yogic position seated on a stool under an arch.

Harappa. Two tablets. Seated figure or deity with reed house or shrine at one side. Left: H95-2524; Right: H95-2487.

Harappa. Planoconvex molded tablet found on Mound ET. A. Reverse. a female deity battling two tigers and standing above an elephant and below a six-spoked wheel; b. Obverse. A person spearing with a barbed spear a buffalo in front of a seated horned deity wearing bangles and with a plumed headdress. The person presses his foot down the buffalo’s head. An alligator with a narrow snout is on the top register. “We have found two other broken tablets at Harappa that appear to have been made from the same mold that was used to create the scene of a deity battling two tigers and standing above an elephant. One was found in a room located on the southern slope of Mount ET in 1996 and another example comes from excavations on Mound F in the 1930s. However, the flat obverse of both of these broken tablets does not show the spearing of a buffalo, rather it depicts the more well-known scene showing a tiger looking back over its shoulder at a person sitting on the branch of a tree. Several other flat or twisted rectangular terracotta tablets found at Harappa combine these two narrative scenes of a figure strangling two tigers on one side of a tablet, and the tiger looking back over its shoulder at a figure in a tree on the other side.” [JM Kenoyer, 1998, p. 115].

m1181A2222 Pict-80: Three-faced, horned person  (with a three-leaved pipal branch  on the crown), wearing bangles and armlets and seated, in a yogic posture, on a hoofed platform

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

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

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

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

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

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

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.

m0305AC 2235 Pict-80: Three-faced, horned person  (with a three-leaved pipal branch  on the crown with two stars on either side), wearing bangles and armlets. Two stars adorn the curved buffalo horns of the seated person with a plaited pigtail. The pigtail connotes a pit furnace:

Glyph: kamad.ha, kamat.ha, kamad.haka, kamad.haga, kamad.haya = a type of penance (Pkt.lex.)

kamat.amu, kammat.amu = a portable furnace for melting precious metals; kammat.i_d.u = a goldsmith, a silversmith (Te.lex.) ka~pr.aut.,kapr.aut. jeweller’s crucible made of rags and clay (Bi.); kapr.aut.i_wrapping in cloth with wet clay for firing chemicals or drugs, mud cement (H.)[cf. modern compounds: kapar.mit.t.i_ wrapping in cloth and clay (H.);kapad.lep id. (H.)](CDIAL 2874). kapar-mat.t.i clay and cowdung smeared on a crucible (N.)(CDIAL 2871).

kampat.t.tam coinage, coin (Ta.); kammat.t.am, kammit.t.am coinage, mint (Ma.); kammat.i a coiner (Ka.)(DEDR 1236) kammat.a = coinage, mint (Ka.M.) kampat.t.a-k-ku_t.am mint; kampat.t.a-k-ka_ran- coiner; kampat.t.a- mul.ai die, coining stamp (Ta.lex.)

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’. 

ṭhaṭera 'buffalo horns'. Rebus: ṭhaṭerā 'brass worker'

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'

http://bharatkalyan97.blogspot.in/2015/10/art-historians-dilemma-and-occams-razor.html

dhatu 'scarf' Rebus: dhatu 'mineral 

   
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.) kulA 'hood of serpent' Rebus: kolle 'blacksmith'.

Glyph: rimless pot: baṭa. Rebus: bhaṭa ‘smelter, furnace’. It appears that the message of the glyphics is about a mint  or metal workshop which produces sharpened, tempered iron (stone ore) using a furnace.

Rebus readings of glyphs on text of inscription:

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

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

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

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

dula ‘pair’; rebus dul ‘cast (metal)’

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

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

http://bharatkalyan97.blogspot.in/2015/04/migrating-channels-of-vedic-river.html

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 Paris, France) 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."

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

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 1: khaṇḍaran,  khaṇḍrun ‘pit furnace’ (Santali) Rebus 2: khaNDa 'metal implements'

Santali glosses.

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

http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-scarf-hieroglyph-on.html

What is writing? Mlecchita vikalpa of ancient Indian tradition of bhāratam janam is Indus Script writing. 

What is writing? Let us define what writing is NOT.

Writing is not doodle.

Writing is not scribble even if they may have constituted 'potters' marks' comparable to trade marks or road signs.

So, writing is an alternative representation to communicate language or thought. In the context of ancient Indian tradition, one such alternative is called mlecchita vikalpa, 'Meluhha cipher writing' -- identified as one of 64 arts to be learned by youth.

Mohenjodro 0304 seal impression  http://bharatkalyan97.blogspot.in/2015/08/hieroglyph-multiplex-ayas-alloymetal.html

There are some who define writing as only alphabet (consonant, vowel) or syllable (phoneme) representations to signify sounds of a language.

This restrictive definition rules out writing systems which express ideas, exemplified by Chinese writing.

This restrictive definition also rules out mlecchita vikalpa type of writing systems which use hieroglyphs to signify words with more than one meaning: a meaning to signify, say, an object as a drawing (e.g. bharati 'partridge, quail'); another meaning to signify an entirely different object as a life-activity (e.g. bharati 'alloy metal of copper, pewter, tin'). In such a vikalpa (alternative), a hieroglyph denotes a partidge/quail but the intended message is an alloy metal.

It is unclear why languages evolve with the use of similar sounding words (homonyms) to signify different meanings.

A characteristic feature of many languages of Indian sprachbund (speech union) is that homonyms are frequently encountered. There is also a language characteristic of reduplications of spoken words in Indiansprachbund. (A precise account of reduplication feature of languages is at https://en.wikipedia.org/wiki/Reduplication ) The term sprachbund has a synonym in linguistic studies: linguistic area or areal linguistics. In the context of Indian languages the phrase got into vogue from an author of Dravidian Etymological Dictionary: Emeneau, M. (1956). "India as a Linguistic Area". Language 32 (1): 3–16.

In a series of works, mlecchita vikalpa has been identified in Indus Script Corpora which has now grown to about 7000 inscriptions (Over 4500 identified in the Corpus in 3 volumes so far by Asko Parpola's team PLUS about 2000 Persian Gulf seals PLUS over 1000 cylinder seal impressions of Ancient Near East which use hieroglyphs of Indus Script).  

For example, see the following use of a unique rebus-metonymy layered cipher for some hieroglyphs and hieroglyph-multiplexes of Indus script:

• fish: aya 'fish' (Munda) Rebus aya 'iron' (Gujarati)
• partridge/quail: bharati 'partridge/quail' Rebus: bharati 'alloy of copper, pewter, tin' (Marathi)
• safflower: karaDi 'safflower' Rebus: karaDa 'hard alloy' (Marathi) khambhaṛā ʻfinʼ  (Lahnda)(CDIAL 13639) khambu 'plumage' (S.); khambh 'wing, feather' (Punjabi)(CDIAL 13640) rebus: kammaTa 'coiner, coinage, mint (Kannada): 
• crocodile: karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)
• ram: meD 'ram' Rebus: meD 'iron' (Ho.)
• narrow-necked jar: karava 'narrow-necked jar' Rebus: kharva 'wealth'; karba 'iron' (Tulu)
• rim of jar: karNaka 'rim of jar' Rebus: karNI 'supercargo' karNIka 'scribe'
• young bull: khond 'young bull' Rebus: khond 'turner' (metals)
• wallet: dhokra 'wallet' Rebus: dhokra 'cire perdue metalcaster'
• water-carrier: kuTi 'water-carrier' Rebus: kuThi 'smelter'
• warrior: bhaTa 'warrior' Rebus: bhaTa 'furnace'
• rhinoceros: kANDa 'rhinoceros' Rebus: kANDa 'implements'

It has been demonstrated that the Indus Script Corpora is catalogus catalogorum of metalwork and the metalcasters of Sarasvati-Sindhu civilization where the writing system originated ca. 3300 BCE called themselves workers of metal alloy, bharata/bharati, thus as bhāratam janam in a very ancient document, a sacred text, Rigveda:

viśvāmitrasya rakṣati brahmedam bhāratam janam. RV3.53.12. (Trans. This prayer, brahma, of viśvāmitra protects bhārata, metalcaster folk'.)

It will be an error to rule out writing systems like Indus Script which deploy word-hieroglyph patterns of representation as distinct from syllable or consonant/vowel representation exemplified by Aramaic or Brāhmi or Kharoṣṭhī.

The system of writing, mlecchita vikalpa by bhāratam janam was matched by the splendour of prosody calledchandas in Rigveda. Mlecchita vikalpa encoded speech (mleccha/meluhha), while chandas encoded mantras like the one cited from Rishi Viśvāmitra who also recited the Gāyatri mantra venerating the effulgent sun and making speech resonate with anāhata nāda brahman 'unstruck sound cosmic-consciousness' of vāk, speech as mother divine.

http://bharatkalyan97.blogspot.in/2015/08/what-is-writing-mlecchita-vikalpa-of.html?view=timeslide

Addendum to: http://bharatkalyan97.blogspot.in/2016/04/heralding-civilization-bronze-age.html

Proclamation: 'kammaṭa 'mint', Sanchi

What is often cited as 'tri-ratna' or 'srivatsa' or 'nandipada' symbol is seen to be a hypertext, an Indus Script hieroglyph-multiplex, composed of: 1. lotus; 2. two fish-fins; 3. two petals; 4. spathe. The hypertext is superscipted together with two petals on a circle. The centrepiece is a skambha, 'pillar' (as a phonetic determinant of khambhaṛā 'fish-fin'). The entire hypertext is superscripted by a spoked wheel.

1. tAmarasa 'lotus' rebus: tAmra 'copper'

2. khambhaṛā ʻfinʼ (kammaṭa 'coiner, coinage, mint (Kannada):

3. dala 'petal' rebus: ḍhāḷakī 'ingot'

4. sippī ʻspathe of date palmʼ Rebus: sippi 'artificer, craftsman'
5. dula 'pair' rebus: dul 'cast metal'
6. goTa 'round' rebus 1: khoTa 'ingot' (phonetic determinative of the two metals atop the circle); rebus 2: goTa 'laterite ferrite ore'

7. eraka 'nave of wheel' rebus: eraka 'moltencast, copper' arA 'spokes' rebus: Ara 'brass'.

Thus, the proclamation atop Sanchi/Bharhut torana is a kammaṭa 'coinage, coiner, mint' with competence in metalwork with copper, ferrite ores, brass, ingots, metal-sculpting (casting).

dala  'petal' Rebus: ḍhāḷako = a large ingot (G.) ḍhāḷakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (G.) 

Hieroglyph:  Pali sippī- pearl oyster, Pkt. sippī- id., etc. (DEDR 2535). sippī f. ʻspathe of date palmʼ Rebus: sippi 'artificer, craftsman'. śilpin ʻ skilled in art ʼ, m. ʻ artificer ʼ Gaut., śilpika<-> ʻ skilled ʼ MBh. [śílpa -- ] Pa. sippika -- m. ʻ craftsman ʼ, NiDoc. śilpiǵa, Pk. sippi -- , °ia -- m.; A. xipini ʻ woman clever at spinning and weaving ʼ; OAw. sīpī m. ʻ artizan ʼ; M. śĩpī m. ʻ a caste of tailors ʼ; Si. sipi -- yā ʻ craftsman ʼ.(CDIAL 12471) சிற்பியர். (சூடா.) சிற்பம்¹ ciṟpam , n. < šilpa. 1. Artistic skill; தொழிலின் திறமை. செருக்கயல் சிற்பமாக (சீவக. 2716). 2. Fine or artistic workmanship; நுட்பமான தொழில். சிற்பந் திகழ்தரு திண்மதில் (திருக்கோ. 305). சிற்பர் ciṟpar , n. < šilpa. Mechanics, artisans, stone-cutters; சிற்பிகள். (W.)சிற்பி ciṟpi, n. < šilpin. Mechanic, artisan, stone-cutter; கம்மியன். (சூடா.)சிற்பியல் ciṟpiyal , n. < சிற்பம்¹ + இயல். Architecture, as an art; சிற்பசாஸ்திரம். மாசில் கம் மத்துச் சிற்பியற் புலவர் (பெருங். இலாவாண. 4, 50).

Sadakana Bull Maharathis of Chandravalli . ಚಂದ್ರವಳ್ಳಿಯ ( ಚಿತ್ರದುರ್ಗ ) ಸದಕನ ಮಹಾರಥಿಗಳು .(30 BC- 70 AD)

, Lead karshapana. Zebu. Brahmi legend: Maharathi putasa sudakana (kanhasa) Krishna Six arched hill with crescent, wavy line below, nandipada, 

poLa 'zebu' rebus: poLa 'magnetite ferrite ore'

meTTu 'mound' rebus: meD 'iron' 

kuThAru 'crucible' rebus: kuThAru 'armourer'

kANDa 'water' rebus: kaNDa 'implements'

kammaṭa 'mint'

sattva 'svastika' rebus: jasta 'zinc'

Svastika http://ancientcoinsofindiaaruns.blogspot.in/2010/05/sadakana-bull-maharathis-of_3858.html

Taxila, Uninscribed die-struck Coin (200-150 BC), MIGIS-4 type 578, 3.94g. Obv: Lotus standard flanked by banners in a railing, with two small three-arched hill symbols on either side. Rev: Three-arched hill with crescent above a bold 'open cross' symbol.

Fig. 20. Ancient Indian Coin.

The Migration of Symbols, by Goblet d'Alviella, [1894

(Archæological Survey of India, vol. x., pl. ii., fig. 8.)

kuTi 'tree' rebus: kuThi 'smelter'

dala 'petal' rebus: dhALaki 'ingot'

http://www.sacred-texts.com/sym/mosy/mosy06.htm

śrivatsa symbol [with its hundreds of stylized variants, depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] Pl. 27, Svastika symbol: distribution in cultural periods] The association of śrivatsa with ‘fish’ is reinforced by the symbols binding fish in Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE).  śrivatsa  symbol seems to have evolved from a stylied glyph showing ‘two fishes’. In the Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a Jaina āyāgapaṭa, a fish is ligatured within the śrivatsa  glyph,  emphasizing the association of the ‘fish’ glyph with śrivatsa glyph.

(After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77)

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.

Tree 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].

kuTi 'tree' rebus: kuThi 'smelter'

Kushana period, 1st century C.E.From Mathura Red Sandstone 89x92cm
books.google.com/books?id=evtIAQAAIAAJ&q=In+the+image...

Ayagapatta, Kankali Tila, Mathura.

"Jain homage tablet. The tablet was set up by the wife of Bhadranadi, and it was found in December 1890 near the centre of the mound of the Jain stupa at Kankali Tila. Mathura has extensive archaeological remains as it was a large and important city from the middle of the first millennium onwards. It rose to particular prominence under the Kushans as the town was their southern capital. The B

uddhist, Brahmanical and Jain faiths all thrived at Mathura, and we find deities and motifs from all three and others represented in sculpture. In reference to this photograph in the list of photographic negatives, Bloch wrote that, "The technical name of such a panel was ayagapata [homage panel]." The figure in the centre is described as a Tirthamkara, a Jain prophet." http://www.cristoraul.com/ENGLISH/readinghall/UniversalHistory/INDIA/Cambridge/I/CHAPTER_XXVI.html

Hieroglyph: arye 'lion' Rebus: arya 'person of noble character'

cakra, cakka 'wheel' Rebus: dhamma cakka 'wheel of dharma' (Pali.Prakrit).

Wheel in Hindu, Jaina and Bauddham is a metaphor of consciousness-cosmic ordering in cyclical rythm of time and space, which is dharma-dhamma. 

Vishnu Sandstone Relief From Meerut India Indian Civilization 10th Century Dharma chakra. Srivatsa. Gada.

Rebus: dhamma 'dharma' (Pali) Hieroglyphs: dām 'garland, rope':

Hieroglyphs: hangi, 'mollusc' tied to a fish: ayira 'fish' Rebus; ariya, ayira 'person of noble character'. 

Hieroglyphs: hangi 'mollusc' + dām 'rope, garland' dã̄u m. ʻtyingʼ; puci 'tail' Rebus: puja 'worship'

Rebus: ariya sanghika dhamma puja 'veneration of arya sangha dharma'

Hieroglyph: Four hieroglyphs are depicted. Fish-tails pair are tied together. The rebus readings are as above: ayira (ariya) dhamma puja 'veneration of arya dharma'.

ayira 'fish' Rebus:ayira, ariya, 'person of noble character'. युगल yugala 'twin' Rebus: जुळणें (p. 323) [ juḷaṇēṃ ] v c & i (युगल S through जुंवळ) To put together in harmonious connection or orderly disposition (Marathi). Thus an arya with orderly disposition.

sathiya 'svastika glyph' Rebus: Sacca (adj.) [cp. Sk. satya] real, true D i.182; M ii.169; iii.207; Dh 408; nt. saccaŋ truly, verily, certainly Miln 120; saccaŋ kira is it really true? D i.113; Vin i.45, 60; J (Pali)

सांगाडा [ sāṅgāḍā ] m The skeleton, box, or frame (of a building, boat, the body &c.), the hull, shell, compages. 2 Applied, as Hulk is, to any animal or thing huge and unwieldy.

सांगाडी [ sāṅgāḍī ] f The machine within which a turner confines and steadies the piece he has to turn. Rebus: सांगाती [ sāṅgātī ] a (Better संगती) A companion, associate, fellow.Buddha-pada (feet of Buddha), carved on a rectangular slab. The margin of the slab was carved with scroll of acanthus and rosettes.  The foot-print shows important symbols like triratna, svastika, srivatsa,ankusa and elliptical objects, meticulously carved in low-relief. From Amaravati, Andhra Pradesh, being assignable on paleographical grounds to circa 1^st century B.C --2^nd century CE,

 The piece is now in the Lucknow Museum. 

 http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/a/largeimage58906.html

An ayagapata or Jain homage tablet, with small figure of a tirthankara in the centre and inscription below, from Mathura. "Photograph taken by Edmund William Smith in 1880s-90s of a Jain homage tablet. The tablet was set up by the wife of Bhadranadi, and it was found in December 1890 near the centre of the mound of the Jain stupa at Kankali Tila. Mathura has extensive archaeological remains as it was a large and important city from the middle of the first millennium onwards. It rose to particular prominence under the Kushans as the town was their southern capital. The Buddhist, Brahmanical and Jain faiths all thrived at Mathura, and we find deities and motifs from all three and others represented in sculpture. In reference to this photograph in the list of photographic negatives, Bloch wrote that, "The technical name of such a panel was ayagapata [homage panel]." The figure in the centre is described as a Tirthamkara, a Jain prophet. The piece is now in the Lucknow Museum." http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/a/largeimage58907.html

View of the Jaina stupa excavated at Kankali Tila, Mathura.

Manoharpura. Svastika. Top of āyāgapaṭa. Red Sandstone. Lucknow State Museum. (Scan no.0053009, 0053011, 0053012 ) See: https://www.academia.edu/11522244/A_temple_at_Sanchi_for_Dhamma_by_a_k%C4%81ra%E1%B9%87ik%C4%81_sanghin_guild_of_scribes_in_Indus_writing_cipher_continuum

Ayagapata (After Huntington)

Jain votive tablet from Mathurå. From Czuma 1985, catalogue number 3. Fish-tail is the hieroglyph together with svastika hieroglyph, fish-pair hieroglyph, safflower hieroglyph, cord (tying together molluscs and arrow?)hieroglyph multiplex, lathe multiplex (the standard device shown generally in front of a one-horned young bull on Indus Script corpora), flower bud (lotus) ligatured to the fish-tail.  All these are venerating hieroglyphs surrounding the Tirthankara in the central medallion.

Pali etyma point to the use of 卐 with semant. 'auspicious mark'; on the Sanchi stupa; the cognate gloss is: sotthika, sotthiya 'blessed'. 

Or. ṭaü ʻ zinc, pewter ʼ(CDIAL 5992). jasta 'zinc' (Hindi) sathya, satva 'zinc' (Kannada) The hieroglyph used on Indus writing consists of two forms: 卐卍. Considering the phonetic variant of Hindi gloss, it has been suggested for decipherment of Meluhha hieroglyphs in archaeometallurgical context that the early forms for both the hieroglyph and the rebus reading was: satya.

The semant. expansion relating the hieroglyph to 'welfare' may be related to the resulting alloy of brass achieved by alloying zinc with copper. The brass alloy shines like gold and was a metal of significant value, as significant as the tin (cassiterite) mineral, another alloying metal which was tin-bronze in great demand during the Bronze Age in view of the scarcity of naturally occurring copper+arsenic or arsenical bronze.

I suggest that the Meluhha gloss was a phonetic variant recorded in Pali etyma: sotthiya. This gloss was represented on Sanchi stupa inscription and also on Jaina ayagapata offerings by worshippers of ariya, ayira dhamma, by the same hieroglyph (either clockwise-twisting or anti-clockwise twisting rotatory symbol of svastika). Linguists may like to pursue this line further to suggest the semant. evolution of the hieroglyph over time, from the days of Sarasvati-Sindhu civilization to the narratives of Sanchi stupa or Ayagapata of Kankali Tila.

स्वस्ति [ svasti ] ind S A particle of benediction. Ex. राजा तुला स्वस्ति असो O king! may it be well with thee!; रामाय स्वस्ति रावणाय स्वस्ति! 2 An auspicious particle. 3 A term of sanction or approbation (so be it, amen &c.) 4 Used as s n Welfare, weal, happiness.स्वस्तिक [ svastika ] n m S A mystical figure the inscription of which upon any person or thing is considered to be lucky. It is, amongst the जैन, the emblem of the seventh deified teacher of the present era. It consists of 卍. 2 A temple of a particular form with a portico in front. 3 Any auspicious or lucky object.(Marathi)

svasti f. ʻ good fortune ʼ RV. [su -- 2, √as1]Pa. suvatthi -- , sotthi -- f. ʻ well -- being ʼ, NiDoc. śvasti; Pk. satthi -- , sotthi -- f. ʻ blessing, welfare ʼ; Si. seta ʻ good fortune ʼ < *soti (H. Smith EGS 185 < sustha -- ). svastika ʻ *auspicious ʼ, m. ʻ auspicious mark ʼ R. [svastí -- ]Pa. sotthika -- , °iya -- ʻ auspicious ʼ; Pk. satthia -- , sot° m. ʻ auspicious mark ʼ; H. sathiyā, sati° m. ʻ mystical mark of good luck ʼ; G. sāthiyɔ m. ʻ auspicious mark painted on the front of a house ʼ.(CDIAL 13915, 13916)

Nibbānasotthi (welfare). saccena suvatthi hotu nibbānaŋ Sn 235.Sotthi (f.) [Sk. svasti=su+asti] well -- being, safety, bless ing A iii.38=iv.266 ("brings future happiness"); J i.335; s. hotu hail! D i.96; sotthiŋ in safety, safely Dh 219 (=anupaddavena DhA iii.293); Pv iv.64(=nirupaddava PvA 262); Sn 269; sotthinā safely, prosperously D i.72, 96; ii.346; M i.135; J ii.87; iii.201. suvatthi the same J iv.32. See sotthika & sovatthika. -- kamma a blessing J i.343. -- kāra an utterer of blessings, a herald J vi.43. -- gata safe wandering, prosperous journey Mhvs 8, 10; sotthigamana the same J i.272. -- bhāva well -- being, prosperity, safety J i.209; iii.44; DhA ii.58; PvA 250. -- vācaka utterer of blessings, a herald Miln 359. -- sālā a hospital Mhvs 10, 101.Sotthika (& ˚iya) (adj.) [fr. sotthi] happy, auspicious, blessed, safe VvA 95; DhA ii.227 (˚iya; in phrase dīgha˚ one who is happy for long [?]).Sotthivant (adj.) [sotthi+vant] lucky, happy, safe Vv 8452.Sovatthika (adj.) [either fr. sotthi with diaeresis, or fr. su+atthi+ka=Sk. svastika] safe M i.117; Vv 187 (=sotthika VvA 95); J vi.339 (in the shape of a svastika?); Pv iv.33 (=sotthi -- bhāva -- vāha PvA 250). -- âlankāra a kind of auspicious mark J vi.488. (Pali)

[quote]Cunningham, later the first director of the Archaeological Survey of India, makes the claim in: The Bhilsa Topes (1854). Cunningham, surveyed the great stupa complex at Sanchi in 1851, where he famously found caskets of relics labelled 'Sāriputta' and 'Mahā Mogallāna'. [1] The Bhilsa Topes records the features, contents, artwork and inscriptions found in and around these stupas. All of the inscriptions he records are in Brāhmī script. What he says, in a note on p.18, is: "The swasti of Sanskrit is the suti of Pali; the mystic cross, or swastika is only a monogrammatic symbol formed by the combination of the two syllables, su + ti = suti." There are two problems with this. While there is a word suti in Pali it is equivalent to Sanskrit śruti'hearing'. The Pali equivalent ofsvasti is sotthi; and svastika is either sotthiya or sotthika. Cunningham is simply mistaken about this. The two letters su + ti in Brāhmī script are not much like thesvastika. This can easily been seen in the accompanying image on the right, where I have written the word in the Brāhmī script. I've included the Sanskrit and Pali words for comparison. Cunningham's imagination has run away with him. Below are two examples of donation inscriptions from the south gate of the Sanchi stupa complex taken from Cunningham's book (plate XLX, p.449). 

"Note that both begin with a lucky svastika. The top line reads 卐 vīrasu bhikhuno dānaṃ - i.e. "the donation of Bhikkhu Vīrasu." The lower inscription also ends with dānaṃ, and the name in this case is perhaps pānajāla (I'm unsure about jā). Professor Greg Schopen has noted that these inscriptions recording donations from bhikkhus and bhikkhunis seem to contradict the traditional narratives of monks and nuns not owning property or handling money. The last symbol on line 2 apparently represents the three jewels, and frequently accompanies such inscriptions...Müller [in Schliemann(2), p.346-7] notes that svasti occurs throughout 'the Veda' [sic; presumably he means the Ṛgveda where it appears a few dozen times]. It occurs both as a noun meaning 'happiness', and an adverb meaning 'well' or 'hail'. Müller suggests it would correspond to Greek εὐστική (eustikē) from εὐστώ (eustō), however neither form occurs in my Greek Dictionaries. Though svasti occurs in the Ṛgveda, svastika does not. Müller traces the earliest occurrence of svastika to Pāṇini's grammar, the Aṣṭādhyāyī, in the context of ear markers for cows to show who their owner was. Pāṇini discusses a point of grammar when making a compound using svastika and karṇa, the word for ear. I've seen no earlier reference to the word svastika, though the symbol itself was in use in the Indus Valley civilisation.[unquote]

1. Cunningham, Alexander. (1854) The Bhilsa topes, or, Buddhist monuments of central India : comprising a brief historical sketch of the rise, progress, and decline of Buddhism; with an account of the opening and examination of the various groups of topes around Bhilsa. London : Smith, Elder. [possibly the earliest recorded use of the word swastika in English].
2. Schliemann, Henry. (1880). Ilios : the city and country of the Trojans : the results of researches and discoveries on the site of Troy and through the Troad in the years 1871-72-73-78-79. London : John Murray.

http://jayarava.blogspot.in/2011/05/svastika.html

http://bharatkalyan97.blogspot.in/2015/06/deciphering-indus-script-meluhha.html

Views of Koenraad Elst and Carl Sagan on Svastika symbol

"Koenraad Elst points out that swastika had been a fairly prevalent symbol of the pre-Christian Europe and remained pretty much in vogue even until the 20th century. British troops preparing to help Finland in the war of winter 1939-40 against Soviet aggression painted swastikas, then a common Finnish symbol, on their airplanes. It was also a symbol of Austrian and German völkisch subculture where it was associated with the celebration of the summer solstice. In 1919, the dentist Friedrich Krohn adopted it as the symbol of the DAP because it was understood as the symbol of the Nordic culture. Hitler adopted a variant of the DAP symbol and added the three color scheme of the Second Reich to rival the Communist hammer and sickle as a psychological weapon of propaganda (Elst, Koenraad: The Saffron Swastika, Volume 1, pp. 31-32)...Besides pre-Christian and Christian Europe, the swastika has been depicted across many ancient cultures over several millennia. Carl Sagan infers that it was inspired by the sightings of comets by the ancients. In India, it was marked on doorsteps as it was believed to bring good fortune. It was prevalent worldwide by the second millennium as Heinrich Schliemann, the discoverer of Troy, found. It was depicted in Buddhist caverns in Afghanistan. Jaina, who emphasize on avoidance of harm, have considered it a sign of benediction. The indigenous peoples of North America depicted it in their pottery, blankets, and beadwork. It was widely used in Hellenic Europe and Brazil. One also finds depictions of the swastika, turning both ways, from the seals of the Indus Valley Civilization (IVC) dating back to 2,500 BCE, as well as on coins in the 6th century BCE Greece (Sagan, Carl and Druyan, Ann: Comet, pp. 181-186)" loc.cit.: http://indiafacts.co.in/the-swastika-is-not-a-symbol-of-hatred/

Svastika is a hieroglyph used in Indus Script corpora.

It denoted jasta, 'zinc'

Mirror:
https://www.academia.edu/8362658/Meluhha_hieroglyph_5_svastika_read_rebus_tuttha_sulphate_of_zinc

A hieroglyph which is repeatedly deployed in Indus writing is svastika. What is the ancient reading and meaning?

I suggest that it reads sattva. Its rebus rendering and meaning is zastas 'spelter or sphalerite or sulphate of zinc.'

Zinc occurs in sphalerite, or sulphate of zinc in five colours.

The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha ʻbrassʼ(i.e. alloy of copper + zinc). *ṭhaṭṭha ʻ brass ʼ. [Onom. from noise of hammering brass? -- N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- 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)

Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जस्थ । त्रपु m. (sg. dat. jastas जस्तस्), zinc, spelter; pewter; zasath ज़स््थ् or zasuth ज़सुथ् । त्रपु m. (sg. dat. zastas ज़स्तस्), zinc, spelter, pewter (cf. Hindī jast). 
jastuvu; । त्रपूद्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri).

http://www.gutenberg.org/files/40812/40812-h/images/img239.jpg After Figs. 231 to 234 (T. Wilson, opcit.). Ancient Hindu coins with svastika, normal and ogee. Waring, 'Ceramic art 

http://www.gutenberg.org/files/40812/40812-h/images/img052.jpg

Fig. 32. (After T Wilson opcit)

FOOTPRINT OF BUDDHA WITH SWASTIKA, FROM AMARAVATI TOPE.

From a figure by Fergusson and Schliemann.in remote ages,' pl. 41, figs. 20-24

'Triratna' or "Three Jewels" symbol, on a Buddha footprint (bottom symbol, the top symbol being a dharmachakra). 1st century CE,Gandhara.

 'Srivatsa' with kanka, 'eyes' (Kui). 

Begram ivories. Plate 389 Reference: Hackin, 1954, fig.195, no catalog N°. According to an inscription on the southern gate of Sanchi stupa,

it has been carved by ivory carvers of Vidisha.Southern Gateway panel information:West pillar Front East Face has an inscription. Vedisakehi dantakarehi rupa-kammam katam - On the border of this panel – Epigraphia Indica vol II – written in Brahmi, language is Pali –  the carving of this sculpture is done by the ivory carvers of Vedisa (Vidisha). http://puratattva.in/2012/03/21/sanchi-buddham-dhammam-sangahm-5-1484 

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. Pe. kaṇga (pl. -ŋ, kaṇku) id. Manḍ. kan (pl. -ke) id. Kui kanu (pl. kan-ga), (K.) kanu (pl. kaṛka) id. Kuwi (F.) kannū (S.) kannu (pl. kanka), (Su. P. Isr.) kanu (pl. kaṇka) id. (DEDR 1159). Rebus: kanga 'brazier' (Kashmiri)

Variants of 'Tri-ratna' Grey-schist relief, Gandhara. These variants should be contrasted with the Indus Script hypertext signifies kammaṭa 'mint'. There are three flowers decorating three arms of the W symbol to signify three jewels. Dharmacakka upholds the hieroglyph-multiplex, making these variants clearly influenced by Bauddha dhamma. An alternative rebus reading could be: kolom 'three' rebus: kolimi 'smithy, forge' PLUS tAmarasa 'lotus' rebus: tAmra 'copper' Thus, rendering moltencast copper forge/smithy as a venerated kole.l 'smithy' rebus; kole.l 'temple'.

Section of a coping rail. 30.5x122 cm. 2nd cent. BCE Sunga. Bharhut. Note the tablet held between the hypertexts of fish-fins; it is a definitive semantic determinant of sippi who has the competence to write on, sculpt with metal.

Stupa-1 North Torana, East pillar showing Triratna motif. Sanchi, Dist Raisen, Madhya Pradesh India

'Tri-ratna' from sculpture, Amaravati, from Sanchi, atop a fiery pillar of light worshipped by Naga, Amaravati

'Tri-ratna' Amaravati sculptural frieze

Coin of the Chutu ruler Mulananda c. 125-345. Lead Karshapana 14.30g. 27 mm. Obv.: Arched hill/stupa with river motif below. Rev.: Tree within railed lattice, triratana to right.

[CBK001] Karshapana of Chutus - Mulananda

8 arched chaitya (stupa) with a big central arch, river flowing below, legend rano mulanam dasa

Tree in 12-bracketed railing, Triratna symbol

Issued by Mulanam(Based on brahmi legend) ra no mu la nam da sa. The character la is different in other coin CBK002.

Weight: 10.25g

Diameter: 2.7cm

[CBK002] Karshapana of Chutus - Mulananda different 'la'

8 arched chaitya (stupa) with a big central arch, river flowing below, legend rano mulanam dasa

Tree in 12-bracketed railing (center), Nandi-pada/trinana (left), Swastika (below), Srivatsa (right), Indra-dhvaja (below)

Issued by Mulananda(Based on brahmi legend) ra no mu la(research in progress) nam da sa. The character la is different in other coin CBK001.

Weight: 16g

Diameter: 2.9cm

[CBK003] Karshapana of Chutus - chtukulananda

8 arched chaitya (stupa) with a big central arch, river flowing below, legend rano chatukulanam dasa

Tree in 12-bracketed railing (center), Nandi-pada/trinana (left), Swastika (below), Srivatsa (right), Indra-dhvaja (below)

Issued by Chatukulanda(Based on brahmi legend) cha tu ku la nam da sa.

Weight: 17.13g

Diameter: 2.8cm

The Chutus of Banavasi and their Coinage by Michael Mitchiner in The Numismatic Chronicle, Volume 143

http://coins.techcollections.info/2015/09/lead-coins-of-chutus-of-banavasi.html

Satavahana dynasty of (Kannada: ಚುಟು) ruled parts of the Deccan region of South Indiain the 1st century BCE to 3rd century CE with its capital at Banavasi in modern Uttara Kannada 

district of Karnataka state.

• Chutukulananda (30 BCE–70 CE)
• Mulananda (78–175 CE)
• Sivalananda (175–280 CE)

Anandas of Karwar (Chutus of Banavasi), Mulananda, Lead, 9.55g

Obv: Tree in 4-bracketed railing, Triratna above Swastika to left, Srivatsa over standard "Y" symbol to right. 
Rev: 8-arched chaitya (stupa) with a big central arch, river flowing below, circular legend around in Brahmi "Ra(j)no Mulamdasa" (i.e. Mulananda).

http://www.worldofcoins.eu/forum/index.php?topic=20790.0

Silver coin of the Kuninda Kingdom, c. 1st century BCE. Obv: Deer standing right, crowned by two cobras, attended byLakshmi 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").

Kuninda (or Kulinda in ancient literature) was an ancient centralHimalayan kingdom from around the 2nd century BCE to the 3rd century, located in the modern state of Uttarakhand and southern areas of Himachal in northern India.

Triratna symbol on the reverse (left field) of a coin of the Indo-Scythian king Azes II (r.c. 35-12 BCE)

Coin of Zeionises (c. 10 BCE – 10 CE). Obv: King on horseback holding whip, with bow behind. Corrupted Greek legend MANNOLOU UIOU SATRAPY ZEIONISOU "Satrap Zeionises, son of Manigul". Buddhist Triratna symbol. Rev:King on the left, receiving a crown from a city goddess holding a cornucopia. Kharoshthi legend MANIGULASA CHATRAPASA PUTRASA CHATRAPASA JIHUNIASA "Satrap Zeionises, son of Satrap Manigul". South Chach mint.

Chukhsa was an ancient area of Pakistan, probably modern Chachh, west of the city of Taxila.

Zeionises was an Indo-Scythian satrap of the area of southern Chach (Kashmir) for king Azes II.

Necklaces with a number of pendants

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 Harṣacarita, 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, Bhāratīya 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). 

After Pl. 30 C in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77)

In his 1890 monograph, Theobald lists 312 'symbols' deployed on punch-marked coins. He revises the list to 342 symbols in his 1901 monograph. It should be noted that many of the symbols recorded on punch-marked coins also survive on later coinages, in particular of Ujjain and Eran and on many cast coins of janapadas. DR Bhandarkar’s view is that the early punch-marked coinage in Hindustan is datable to 10^th century BCE though the numismatists claim that the earliest coinage is that of Lydia of 7^th century BCE.

“The coins to which these notes refer, though presenting neither king’s names, dates of inscription of any sort, are nevertheless very interesting not only from their being the earliest money coined in India, and of a purely indigenous character, but from their being stamped with a number of symbols, some of which we can, with the utmost confidence, declare to have originated in distant lands and in the remotest antiquity…The coins to which I shall confine my remarks are those to which the term ‘punch-marked’ properly applies. The ‘punch’ used to produce these coins differed from the ordinary dies which subsequently came into use, in that they covered only a portion of the surface of the coin or ‘blank’, and impressed only one, of the many symbols usually seen on their pieces…One thing which is specially striking about most of the symb ols representing animals is, the fidelity and spirit with which certain portions of it may be of an animal, or certain attitudes are represented…Man, Woman, the Elephant, Bull, Dog, Rhinoceros, Goat, Hare, Peacock, Turtle, Snake, Fish, Frog, are all recognizable at a glance…First, there is the historical record of Quintus Curtius, who describes the Raja of Taxila (the modern Shahdheri, 20miles north-west from Rawal Pindi) as offering Alexander 80 talents of coined silver (‘signati argenti’). Now what other, except these punch-marked coins could these pieces of coined silver have been? Again, the name by which these coins are spoken of in the Buddhist sutras, about 200 BCE was ‘purana’, which simply signies ‘old’, whence the General argunes that the word ‘old as applied to the indigenous ‘karsha’, was used to distinguish it from the new and more recent issues of the Greeks. Then again a mere comparison of the two classes of coins almost itself suffices to refute the idea of the Indian coins being derived from the Greek. The Greek coins present us with a portrait of the king, with his name and titles in two languages together with a great number and variety of monograms indicating, in many instances where they have been deciphered by the ingenuity and perseverance of General Cunningham and others, the names of the mint cities where the coins were struck, and it is our ignorance of the geographical names of the period that probably has prevented the whole of them receiving their proper attribution; but with the indigenous coins it is far otherwise, as they display neither king’s head, neame, titles or mongrams of any description…It is true that General Cunningham considers that many of these symbols, though not monograms in a strict sense, are nevertheless marks which indicate the mints where the coins were struck or the tribes among whom they were current, and this contention in no wise invalidates the supposition contended for by me either that the majority of them possess an esoteric meaning or have originated in other lands at a period anterior to their adoption for the purpose they fulfil on the coins in Hindustan.” (W. Theobald, 1890, Notes on some of the symbols found on the punch-marked coins of Hindustan, and on their relationship to the archaic symbolism of other races and distant lands, Journal of the Asiatic Society of Bengal, Bombay Branch (JASB), Part 1. History , Literature etc., Nos. III & IV, 1890, pp. 181 to 184)

W. Theobald, Symbols on punch-marked coins of Hindustan (1890, 1901)

http://www.scribd.com/doc/12919753/theobaldpunchmarkedsymbolshindustan

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).

Plates VIII to XI of Theobald, 1890 listing symbols on punch-marked coins...

http://www.scribd.com/doc/12921150/Survival-of-Hieroglyphs-on-Punch-Marked-Coins

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).

The date 1800 BCE is significant in the context of the Ganga River valley of Indian civilization. In the sites of Dadupur, Lahuradewa, Malhar, Raja Nal-ka-tila, iron smelting activities have been attested with the remains of a smelter discovered, dated to ca. 1800 BCE. (Rakesh Tewari, 2003,The origins of iron-working in India: new evidence from the Central Ganga Plain and the Eastern Vindhyas  

http://antiquity.ac.uk/ProjGall/tewari/tewari.pdf 

Tewari, R., RK Srivastava & KK Singh, 2002, Excavation at Lahuradewa, Dist. Sant Kabir Nagar, Uttar Pradesh, Puratattva 32: 54-62).

Dates for early iron use from Indian sites (After Table 1. Rakesh Sinha opcit.)

Technologies used in Mehergarh (5500 - 3500 BCE) included stone and copper drills, updraft kilns, large pit kilns and copper melting crucibles.

Nageshwar: Fire altar (After Fig. 3 in Nagaraja Rao, MS, 1986).

http://asi.nic.in/nmma_reviews/Indian%20Archaeology%201983-84%20A%20Review.pdf

Large updraft kiln of the Harappan period (ca. 2400 BCE) found during excavations on Mound E Harappa, 1989 (After Fig. 8.8, Kenoyer, 2000). See: Discussion on stone structures in Dholavira:  http://bharatkalyan97.blogspot.in/2014/01/meluhha-metallurgical-roots-and-spread.html

Lothal. Bead-making kiln. Rao,S.R. 1979. Lothal--A Harappan Port Town 1955-62, Vol. I. New Delhi: Archaeological Survey of India.; Rao, S.R. 1985. Lothal--A Harapan Port Town 1955-62. Vol. II. New Delhi: Archaeological Survey of India.

Harappa. Bead makers' kiln where the heat was distributed equally to all the holes. The 8-shaped stone structure indicates that this is a bead-maker's kiln. The 8-shaped stone structures with an altar or stone stool in the middle can thus be explained functionally as an anvil used by the bead makers to drill holes through beads and to forge material including metal artifacts.

Vitrified kiln walls were discovered in Harappa.

Harappa. Kiln (furnace) 1999, Mound F, Trench 43: Period 5 kiln, plan and section views.

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

The Sindhu-Sarasvati river valley Indian civilization life-activities of metalwork thus continues into the Ganga river valley. The extension of the civilization into the third river valley of Brahmaputra (another perennial Himalayan river system) is as yet an open question subject to archaeological confirmation. The mapping of bronze age sites along the eastern and northeastern parts of India and extending into the Burma, Malay Peninsula and eastwards upto Vietnam (coterminus with the Austro-Asiatic language speaking communities along the Himalayan rivers of Irrawaddy, Salween and Mekong) point to the possibility that the transition of chalco-lithic cultures into the Bronze-iron age (or Metal Alloys age) was a continuum traceable from Mehergarh to Hanoi (Vietnam). 

This continuum of metalwork as a principal life-activity (and trade) may also explain the remarkable discovery of the Bronze Age site of Ban Chiang in Thailand (dated to early 2nd millennium BCE). It should be noted that the site of Ban Chiang is proximate to the largest reserves of Tin (cassiterite) ore in the world which stretched along a massive mineral resource belt in Malay Peninsula into the Northeast India (Brahmaputra river valley). The chronological sequencing of metalworking with tin is an archaeometallurgical challenge which archaeologists and metallurgicals have to unravel in a multi-disciplinary endeavour.

The exploration metalwork in the in Northeastern India, in Brahmaputra river valley can relate to the remarkable fire-altar discovered in Uttarakashi:

Syena-citi: A Monument of Uttarkashi Distt. Fire-altar shaped like a falcon.
Excavated site (1996): Purola Geo-Coordinates-Lat. 30° 52’54” N Long. 77° 05’33” E "The ancient site at Purola is located on the left bank of river Kamal. The excavation yielded the remains of Painted Grey Ware (PGW) from the earliest level along with other associated materials include terracotta figurines, beads, potter-stamp, the dental and femur portions of domesticated horse (Equas Cabalus Linn). The most important finding from the site is a brick alter identified as Syenachiti by the excavator. The structure is in the shape of a flying eagle Garuda, head facing east with outstretched wings. In the center of the structure is the chiti is a square chamber yielded remains of pottery assignable to circa first century B.C. to second century AD. In addition copper coin of Kuninda and other material i.e. ash, bone pieces etc and a thin gold leaf impressed with a human figure tentatively identified as Agni have also been recovered from the central chamber.Note: Many ancient metallic coins (called Kuninda copper coins) were discovered at Purola. cf. Devendra Handa, 2007, Tribal coins of ancient India, ISBN: 8173053170, Aryan Books International."

See: http://bharatkalyan97.blogspot.in/2011/11/syena-orthography.html

http://bharatkalyan97.blogspot.in/2015/03/x.html?q=a+temple+at+sanchi

Meluhha hieroglyphs: 1. Dhokra kamar lost-wax metal caster; 2. Dance-step of Mohenjo-daro metal cast 

Background

Cire perdue or lost-wax casting metallurgy spread from Meluhha into the Fertile Crescent (Nahal Mishmar). See: html http://bharatkalyan97.blogspot.in/2014/01/meluhha-metallurgical-roots-and-spread.html

Tin Road stretched from Meluhha in the east into the Fertile Crescent (Kultepe, Anatolia) defining the Bronze Age. See: http://bharatkalyan97.blogspot.in/2014/01/meluhha-and-tracking-tin-road-after-all.

Dhokra kamar as a Meluhha hieroglyph: Dholavira, Mohenjo-daro seals Rebus: lost-wax casting
The rectangular tablet on the Dholavira tablet is a takhte, 'writing tablet'. takhta 1 तख््त (sometimes written takta तक्त) (for 2, see [takhth] ) । दारुमयी पट्््टिका m. a plank, board, slab (W. 12); a platform; a table; a bench, stool; a sheet of paper; a sheet or expanse of cloth (cf.jāma-takta, p. 373b, l. 32). -bôru  । दारुपट्््टसमूहः m. a load of boards, planks, or slabs of wood (tied in a bundle, and carried from the forests for sale in the towns). -püṭü -प&above;टू&below; । दारुपट्््टखण्डः f. (sg. dat. -pacĕ -पच्य), a sawn plank of wood; a small board.(Kashmiri)  Ta. takaṭu quality of being thin and flat (as a plate of metal), metal plate, leaf blade, outer petal, layer of earth. Ma. takaṭu, takiṭu thin metal plate, spangle; takiṭa copper leaf written over and worn as amulet. Ka. tagaḍu metal beaten into a plate, flat piece or sheet of metal. Tu. tagaḍu thin metal plate. Te. tagaḍu plate, sheet, leaf or foil, of metal. / Cf. Mar. takaṭ, takṭẽ metal beaten into a plate or leaf.  (DEDR 2995) தகடு takaṭu, n. [T. K. tagaḍu.] 1. Quality of being thin and flat, as plate of metal; மென்மையுந் தட்டையுமான வடிவு. (பிங்.) 2. Metal plate; உலோகத்தட்டு. தமனியத் தகடுவய்ந்தென(கம்பரா. நகர்நீ. 28). 3. Foil set below a precious stone to enhance its lustre; வருணத்தகடு. தகட்டி லழுத்தின மாணிக்கம்போலே (ஈடு). 4. Leaf blade; இலை. (பிங்.) 5. Black betel-leaf; கம்மார்வெற்றிலை. (தைலவ. தைல. 85.) 6. Outer petal; பூவின் புறவிதழ். கருந்தகட்டுளைப் பூமருதின் (திருமுரு. 27). 7. Layer of earth; மண்படை. (J.) 8. Closeness, thickness, as of hair; அடர்ச்சி. (யாழ். அக.)The incised speech is called takshat vAk.  A synonym of 'visible language' is 'incised speech' takshat vAk , (a metaphor used in what is possibly the oldest human document, the Rgveda. See: http://bharatkalyan97.blogspot.com/2015/06/tvastr-is-metaphor-for-veneration-of.html 

Tvaṣṭr̥ is a metaphor for veneration of metalwork artificers, Bhāratam Janam, in Rigveda
Tvaṣṭr̥ is Vis'vakarma, ancient artificer of Bhāratam Janam 'metalcaster 
folk', who created -- त्वष्टा वज्रम् अतक्षद आयसम्(RV 10.48.3)-- metal vajra 
weapon in a smithy-forge. The Meluhha gloss is kole.l; the same gloss 
also means 'temple' -- Smithy is a temple. 

Dholavira molded terracotta tablet with Meluhha hieroglyphs written on two sides. Hieroglyph: Ku. ḍokro, ḍokhro ʻ old man ʼ; B. ḍokrā ʻ old, decrepit ʼ, Or. ḍokarā; H. ḍokrā ʻ decrepit ʼ; G. ḍokɔ m. ʻ penis ʼ, ḍokrɔ m. ʻ old man ʼ, M. ḍokrā m. -- Kho. (Lor.) duk ʻ hunched up, hump of camel ʼ; K. ḍọ̆ku ʻ humpbacked ʼ perh. < *ḍōkka -- 2. Or. dhokaṛa ʻ decrepit, hanging down (of breasts) ʼ.(CDIAL 5567). M. ḍhẽg n. ʻ groin ʼ, ḍhẽgā m. ʻ buttock ʼ. M. dhõgā m. ʻ buttock ʼ. (CDIAL 5585). Glyph: Br. kōnḍō on all fours, bent double. (DEDR 204a) Rebus: kunda ‘turner’ 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) Tiger has head turned backwards. క్రమ్మర krammara. adv. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు (Telugu). Rebus: krəm backʼ(Kho.)(CDIAL 3145) karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali) 

See: http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-evidence-for-mleccha.htmlAncient Near East evidence for meluhha language and bronze-age metalware

http://bharatkalyan97.blogspot.in/2014/01/meluhha-metallurgical-roots-and-spread.html?q=dhokraMeluhha: spread of lost-wax casting in the Fertile Crescent. Smithy is the temple. Veneration of ancestors.

The hieroglyph of an old female with breasts hanging down and ligatured to the buttock of a bovine is also deployed on a Mohenjo-daro seal:

Mohenodaro seal. Pict-103 Horned (female with breasts hanging down?) person with a tail and bovine legs standing near a tree fisting a horned tiger rearing on its hindlegs.

Hieroglyph: N. dhokro ʻ large jute bag ʼ, B. dhokaṛ; Or. dhokaṛa ʻ cloth bag ʼ; Bi. dhŏkrā ʻ jute bag ʼ; Mth. dhokṛā ʻ bag, vessel, receptacle ʼ; H. dhukṛīf. ʻ small bag ʼ; G. dhokṛũ n. ʻ bale of cotton ʼ; -- with -- ṭṭ -- : M. dhokṭī f. ʻ wallet ʼ; -- with -- n -- : G. dhokṇũ n. ʻ bale of cotton ʼ; -- with -- s -- : N. (Tarai) dhokse ʻ place covered with a mat to store rice in ʼ.2. L. dhohẽ (pl. dhūhī˜) m. ʻ large thatched shed ʼ.3. M. dhõgḍā m. ʻ coarse cloth ʼ, dhõgṭī f. ʻ wallet ʼ.4. L. ḍhok f. ʻ hut in the fields ʼ; Ku. ḍhwākā m. pl. ʻ gates of a city or market ʼ; N. ḍhokā (pl. of *ḍhoko) ʻ door ʼ; -- OMarw. ḍhokaro m. ʻ basket ʼ; -- N.ḍhokse ʻ place covered with a mat to store rice in, large basket ʼ.(CDIAL 6880) Rebus: dhokra ‘cire perdue’ casting metalsmith. 

Plate II. Chlorite artifacts referred to as 'handbags' f-g (w 24 cm, thks 4.8 cm.); h (w 19.5 cm, h 19.4 cm, thks 4 cm); j (2 28 cm; h 24 cm, thks 3 cm); k (w 18.5, h 18.3, thks 3.2) Jiroft IV. Iconography of chlorite artifacts. http://www.iranicaonline.org/articles/jiroft-iv-iconography-of-chlorite-artifacts
Mohenjo-daro, ancient Indus Valley Civilization, Dancing Girl in Pakistan

Published on May 22, 2012

Mohenjo-daro (Mound of the Dead), is an archeological site situated in the province of Sindh, Pakistan. Built around 2600 BC, it was one of the largest settlements of the ancient Indus Valley Civilization. It is in UNESCO World Heritage List. This video is from Pakistan National Art Gallery. They permorformed this dance for Turkish Culture and Tourism delegation

http://www.youtube.com/watch?v=WR_oMwDr4Gs

Lost-wax casting. Bronze statue, Mohenjo-daro. Bronze statue of a woman holding a small bowl, Mohenjo-daro; copper alloy made using cire perdue method (DK 12728; Mackay 1938: 274, Pl. LXXIII, 9-11)

Dance-step of Mohenjodaro as a hieroglyph. Rebus: metal, 'iron'

Dance-stepas hieroglyph on a potsherd, Bhirrana.

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)

The ‘Dancing Girl’ (Mohenjo-daro), made by the lost-wax process; a bronze foot and anklet from Mohenjo-daro; and a bronze figurine of a bull (Kalibangan). (Courtesy: ASI) "Archaeological excavations have shown that Harappan metal smiths obtained copper ore (either directly or through local communities) from the Aravalli hills, Baluchistan or beyond. They soon discovered that adding tin to copper produced bronze, a metal harder than copper yet easier to cast, and also more resistant to corrosion.

Whether deliberately added or already present in the ore, various ‘impurities’ (such as nickel, arsenic or lead) enabled the Harappans to harden bronze further, to the point where bronze chisels could be used to dress stones! The alloying ranges have been found to be 1%–12% in tin, 1%–7% in arsenic, 1%–9% in nickel and 1%–32% in lead. Shaping copper or bronze involved techniques of fabrication such as forging, sinking, raising, cold work, annealing, riveting, lapping and joining. Among the metal artefacts produced by the Harappans, let us mention spearheads, arrowheads, axes, chisels, sickles, blades (for knives as well as razors), needles, hooks, and vessels such as jars, pots and pans, besides objects of toiletry such as bronze mirrors; those were slightly oval, with their face raised, and one side was highly polished. The Harappan craftsmen also invented the true saw, with teeth and the adjoining part of the blade set alternatively from side to side, a type of saw unknown elsewhere until Roman times. Besides, many bronze figurines or humans (the well-known ‘Dancing Girl’, for instance) and animals (rams, deer, bulls...) have been unearthed from Harappan sites. Those figurines were cast by the lost-wax process: the initial model was made of wax, then thickly coated with clay; once fired (which caused the wax to melt away or be ‘lost’), the clay hardened into a mould, into which molten bronze was later poured. Harappans also used gold and silver (as well as their joint alloy, electrum) to produce a wide variety of ornaments such as pendants, bangles, beads, rings or necklace parts, which were usually found hidden away in hoards such as ceramic or bronze pots. While gold was probably panned from the Indus waters, silver was perhaps extracted from galena, or native lead sulphide...While the Indus civilization belonged to the Bronze Age, its successor, the Ganges civilization, which emerged in the first millennium BCE, belonged to the Iron Age. But recent excavations in central parts of the Ganges valley and in the eastern Vindhya hills have shown that iron was produced there possibly as early as in 1800 BCE. Its use appears to have become widespread from about 1000 BCE, and we find in late Vedic texts mentions of a ‘dark metal’ (krṣnāyas), while earliest texts (such as the Rig-Veda) only spoke of ayas, which, it is now accepted, referred to copper or bronze.

Note: 

Damaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli. http://www.archaeologyonline.net/artifacts/iron-ore.html

Meluhha: the Indus Civilization and Its Contacts with Mesopotamia (Oriental Institute lecture 58:48)

http://www.youtube.com/watch?v=8zcGLlLEbmI

http://www.youtube.com/watch?v=SdGbamPgf8o&list=PL01A404D5E75BB79C

http://www.youtube.com/watch?v=3dIZWnwI47M

Glyph: araṇe 'lizard' (Tulu) Rebus: eraṇi f. ʻ anvil ʼ (Gujarati); aheraṇ, ahiraṇ, airaṇ, airṇī, haraṇ f. ‘anvil’(Marathi)

http://www.youtube.com/watch?v=6qREtAv9hwo

The Mother Goddess folk bronze from bastar

Published: April 6, 2010 16:01 IST | Updated: April 6, 2010 16:05 IST

Bastar art goes global, but artisans battle for survival

IANS

The HinduBastar artisan Sonadhar Poyam Vishwakarma displays his artefacts at an exhibition in Chennai. File photo: K. Pichumani

The intricately carved metal bell, wood and bamboo products adorn many a home in India and abroad. But the nearly 20,000 tribal families in Chhattisgarh who crafted them remain mired in poverty, with no direct access to the market that is giving increasing shelf space to the figurines and wall hangings.

“There is rising demand for our products from foreign countries as well as from various regions of India, but despite the market boom, poverty is worsening day by day,” said Sonu Mandwai, a 33-year-old artisan from the interior Abujmad area of Narayanpur district in Bastar.

The thickly forested Abujmad area is part of the 40,000 sq km tribal-dominated Bastar region, a stronghold of Maoists.

Comprising the districts of Bijapur, Kanker, Narayanpur, Bastar and Dantewada, the Bastar region is home to roughly 20,000 artisans with traditional expertise in making world-class handicraft items in bell metal, wood, wrought iron, terracotta, bamboo, leather and from horn and bone.

However, the artisans are unable to make money from their products as the middlemen or traders who supply the markets purchase the finished items from them at low cost and sell it in the market at a price twenty times higher.

The middlemen are especially active in the main artisans’ centres of Kondagaon, Keshkal, Pharasgaon, Narayanpur and Bade Dongar.

Shyamsundar Vishwakarma, a Chhattisgarh State award winner for iron craft, said, “It is not a profitable business at all. People appreciate my products, but the overall lack of direct marketing channels of Bastar handicraft items in national and international market keep the artisans battling to survive.”

Sharda Salam, another artisan in Abujmad’s Bhutakhar village who makes 15 designs of bamboo craft, said, “Rising poverty is killing the Bastar artisans despite some government support. We make items so we can prosper but the profit goes to middlemen and we continue to struggle to feed our families.

“If this trend continues, the nation will see the end of Bastar’s art,” she said.

B.K. Sahu, officer in charge of Bastar region of the State government’s Chhattisgarh Hastshilp Vikas (Handicrafts Development) Board that is assigned to launch schemes to care of artisans, admitted the artisans were still stuck in poverty though their products were selling in India and abroad.

“Their economic condition is improving with the rise in demand of their products such as the bamboo flute which are unmatched in the national and global market. They are recovering from poverty, but the recovery pace is extremely slow,” Sahu told IANS on the sidelines of a function organised by the State government to showcase tribal art in Raipur’s Guru Ghasidas Museum complex.

Dozens of Bastar artisans had put up stalls at the function, which ended Sunday.

“In a just concluded week-long fair in Raipur at ‘Chhattisgarh Haat’, the handicraft items of Bastar artisans made a sale of over Rs.1.25 million, which was much higher than my expectations. It is just an indication how perfectly they carve out their products,” Sahu said.

“In the past one year, their products made record sales in Italy, France, Britain and other European nations and now we are targeting to enter the US market,” he said, adding that the board had just launched an “Abujmad to America” campaign.

http://www.thehindu.com/arts/crafts/bastar-art-goes-global-but-artisans-battle-for-survival/article389506.ece?css=print

Bastar Art in chhattisgarh

http://chhattisgarhhandicrafts.blogspot.in/2010/06/bastar-art.html

Bastar Art in Chhattisgarh Rajyotsava 2011

DHOKRA - LOST WAX METAL CASTING

Dhokra, the tradition of making lost wax cast ritualistic and utility objects is a finely developed art of Chhattisgarh, with a large concentration of craftspersons in Bastar region. However this evolved art is practiced in many places extending from Orissa to West Bengal.

The process involves many stages: making of the core in fine sand and clay; making an armature with wax threads and strips that depict the image; encasing it with a clay mould with vents and inlet; pouring molten brass and casting; removing the cast, finishing and polishing with sandpaper. In Bastar, the Gharuas use wax for metal casting the idols, which they install in the devgudi, village shrine, of a deity under the trees. There are three variations of cast forms - two have only metal content and these are usually flat motifs or thin walled hollw containers or figurines without a clay core, while the third type includes objects of larger volumes such as animals and lamp stands, where a clay core is retained inside a thin layer of metal as an economic measure. In some cases, when the outer layer is a lattice , then this core is mechanically removed in the finishing stage. Rice husk is added to the core to reduce its weight. The decorative parts of the object are separately added with wax filled cavity. Alternately, the entire assembly is fired in an open kiln and when the heated wax starts to evaporate, the liquefied metal is poured in the central cavity.

Inset : A rare artifact from Pahad Chidwa - a lamp on a tortoise`s back. Many such artifacts come from this little known village, where one family has been producing delightful work.

http://www.cohands.in/handmadepages/book480.asp?t1=480&lang=English

A group of musicians from Bison Horn Maria tribe, Ektal
Ritualistic lamp gifted to a daughter by her father on her wedding, Ektal.

Cast figurine of a goddess.
The mahua tree depicts people celebrating the Karma festival, Ektal.


Toys form another range of products that are made in Ektal. Toys are generally small (not more than a few inches). Shown below is a bullock on wheels, the wheels are attached separately with a metal wire. 

Friday, June 22, 2012

Chhattisgarh: Ektaal – A crafts Village

Ektaal, a village located near Raigarh is a small and very basic village, what makes it special is the fact it is home to many national and state level award-winning artisans. The whole village is engaged in making handmade metal craft popularly known as Dokra art. They continue to use the age-old technique of Lost Wax method that was used even during the times of Indus Valley Civilization. Designs are made on a clay tablet with threads of bee wax. Wax strands are also made using a small wooden machine using simple pressing method. Another layer of clay is added to mould after the wax settles and then the molten metal is put between the two clay layers. The wax burns out and the metal settles in its place and when the clay mould is broken the shining metal comes out in the desired shape.

We found women were engaged in laying the design part on clay tablets, while men were taking care of the rest of the activities like making wax stands, putting the slay moulds on fire, breaking it, arranging the finished product and making an effort to sell it. Most of the designs revolve around tribal deities and folk characters and their stories. They are slowly trying to come up with designs on usable items like cutlery etc., though I think a lot can be done to use the same art for the changing needs of the world.

I enjoyed my small conversation with the national award winner Smt Budhiarin Devi who proudly showed us her latest creation that won her the state level award. It was interesting to hear about her travels and her impression of the places she has visited. These expert artisans travel around the country showcasing their art. From time to time they get invited to conduct workshops on their craft in other states. Their craft has in a way become their vehicle to see the world while providing the world a window into their own culture. Is that not one of the prime purposes of the art – to communicate across all man made divides.

I remember visiting the Chhattisgarh state emporium in Raipur that is run by a committee with a curious name – Jhitku Mitki. I enquired by guide about Jhitku Mitki, he said they are just a part of folklore but could not tell the story associated with the name, but something kept telling me that there must be a story associated with these names. I came back and searched on the Internet and found this story: Mitki was a young girl in a family of seven brothers that lived in the area of Bastar. As Mitki grew up her brothers brought home Jhitku, a young man to marry her, and both Jhtiku Mitki fell in love with each other. After a while the family needed someone to be sacrificed for a religious ritual and as they could not find anyone else, they sacrificed Jhitku. Mitki could not take this and she also killed herself and since then the tribes of Bastar worship them as a couple. People here believe that all your wishes come true when you worship Jhitku Mitki. They are also known by other names like Gappa Dei and Lakkad Dei, or Dokra-Dokri. They have also become an essential part of artwork that this area creates.

Most of the villagers in Ektaal belong to Jhara tribe, which is a sub-tribe of Gonds. They migrated here from Orrisa sometime back. 

http://anuradhagoyal.blogspot.in/2012/06/chhabeela-chhattisgarh-viii-ektaal.html

Dhokra Art 

Published on Sep 2, 2012

For World Craft Council...This video was shot at Urban Haat Hazaribagh, We really thank The Artisans, MD Jharcraft, Munmun Biswas, Swati Mittal, Raman Poddar, Akash Mitra, Mangkhankhual for all their support.......
Mritunjay Kumar and Chirapriya Mondal
Design Programme, IITK

http://www.youtube.com/watch?v=JIdj2SsY20A

The Dokhra Metal Casters of West Bengal Parts 1-3

http://www.youtube.com/watch?v=DnPL0b_ytU4

http://www.youtube.com/watch?v=gFkj6d0aN1g

http://www.youtube.com/watch?v=1-fCL9GlVQg

Uploaded on Dec 30, 2008

The Dokhra or Dokra group of tribal craftsmen who live in an around West Bengal, Orissa, Madhya Pradesh and Andhra Pradesh create wonderfully sculpted products of cast metals. What makes Dokhra metal casting unique is that it uses the lost wax process or Cire Perdue to cast brass or bronze. The word Dokhra in Bengali denotes contempt for those who are socially low and despised. Within all the social hierarchy in West Bengal, these metalworkers are the most persecuted. The Dokhras currently live in the western part of West Bengal in four districts namely, Midnapore, Purulia, Bankura and Burdwan. The metalworkers in this film are from Burdwan. These Dokhra casters make various kinds of images and figures of deities like Siva and Ganesh, and animals such as owls, horses and strangely enough (considering that they live inland) fish.

The film provides a brief context in which the Dokhra craftsmen live and then moves on to describe the casting process. A documentary by Gillian Bormann and Alex Senior.

Bell Metal Craft_Making Process

Uploaded on Nov 9, 2011
'Bell metal crafts of Sarthebari' is Design Resource From IIT Guwahati.

Bell Metal Craft - Sarthebari is home to the bell metal industry, the second largest handicraft of Assam. Bell metal is an alloy of copper and tin and utensils made from it are used for domestic and religious purposes. 

Bell Metal Craft_ Making Process - The craftsmen in Sarthebari (also referred as Kahar or Orja) still resort to the age old tools required for burning and shaping the metal. The process is as below.
-Processing the raw material
-Solidifying the molten metal
-Filing of the rough edges 
-Scraping off the burnt layer 
-Carving imprints on the bell metal ware
-Bhor mara or carving rings on the bowl 

For more information on resources visit http://www.dsource.in
Write to us at contact@dsource.in

http://www.youtube.com/watch?v=XidvVCiQsQw



Masters of Fire: Hereditary Bronze Casters of South India
http://www.youtube.com/watch?v=8SuEzTXCk4c

Uploaded on May 27, 2010
Featuring UC San Diego archaeology professor Tom Levy, this video is based on ethnoarchaeological research in the town of Swamimalai in the south Indian state of Tamil Nadu. For centuries Swamimalai has been the center of bronze Hindu icon manufacturing in the region, with its workshops passed down from generation to generation of hereditary sthapathis ('artisans' in Tamil).


Imagecasting in Swamimalai

Published on Mar 12, 2013
visiting a bronze casting workshop in Swamimalai, India
http://www.youtube.com/watch?v=0The8sbE-0g


Casting a Metal Statue, Swamimalai

Uploaded on Feb 18, 2010

Suri Narayanan shares and demonstrates to the participants of the 2010 South Indian Odyssey about the traditional process of casting a metal statue. Suri lives in Swamimalai, South India and creates amazing metal statues for temples and homes.
http://www.youtube.com/watch?v=ZoEW85KDZKQ

A ‘Sheffield of Ancient India’: Chanhu-Daro’s Metal working Industry. Illustrated London News 1936 – November 21^st, p.909. 10 x photos of copper knives, spears , razors, axes and dishes.

http://bharatkalyan97.blogspot.in/2014/01/meluhha-hieroglyphs-1-dhokra-lost-wax.html

Meluhha dhokra art from 5th millennium BCE at Nahal (Nachal) Mishmar, transiting into Bronze Age 

Konerirajapuram

 - Worlds Largest Bronze Nataraja.This is the largest bronze Nataraja in the world approx. 8ft high, bigger than the Chidambaram Nataraja.Chola Bronze at Thirunallam. Konerirajapuram is about half hour drive from Kumbakonam, in Mayiladithurai taluka of Nagapattinam district in Tamil Nadu. 

The word dhokra is represented as a hieroglyph on two Indus seals from Dholavira and Mohenjo-daro. Now we know that the word means 'cire perdue' or lost-wax technology for metal alloys to create bronze/brass statues, tools and weapons. This was arrival of the bronze age with a bang! contributed by dhokra artisans who live today in India and are called dhokra kamar.

Hieroglyph:

ḍŏkuru-ḍŏkuru ; । कुब्जावस्था m. (sg. dat. ḍŏkaris-ḍŏkaris ड्वकरिस््-ड्वकरिस्), the condition of a bent or humpbacked person (from old age, injury to the spine, or the like). Cf. ḍŏkhürü and dọ̆ku. -- dyunu --  । कार्श्ये&1;पि कार्यविधानम् m.inf. to do a little work as best one can when one is bent by old age.(Kashmiri) 1. Ku. ḍokro, ḍokhro ʻ old man ʼ; B. ḍokrā ʻ old, decrepit ʼ(CDIAL 5567).


ټوقړ ṯṯūḳaṟṟ s.m. (5th) An old or decrepit man. Pl. ټوقړان ṯṯūḳaṟṟān. See ټاقړ (Pashto)

?Allograph: 1. N. ḍhoknu, ḍhognu ʻ to bow down before, salute respectfully ʼ; H. ḍhoknā ʻ to lean against ʼ; -- Ku. ḍhok ʻ obeisance ʼ, N. ḍhok, ḍhog -- bheṭ (whence -- g in verb), H. ḍhok f., OMarw. ḍhoka f.2. H. dhoknā ʻ to bow down before ʼ, dhok f. ʻ obeisance ʼ.(CDIAL 5611). Go. (Mu.) doṛī- to bow (DEDR 3525).

தொக்கடி tokkaṭi , n. (W.) 1. A kind of ola covering to protect fruits on the tree; மரத் திற் பழங்களைப் பொதிந்துவைக்கும் ஓலைமறைவு. 2. A small ola-basket for fruit; பழம் வைக்குஞ் சிறு கூடை. See other etyma embedded from CDIAL in an earlier blogpost URL cited.

Rebus:

dŏkuru  परिघः a kind of hammer for use in metal-work, with a drum-shaped head. (El. dauker; L. 46, dokar; Śiv. 1563.) dŏkȧri-dab दब् । कूटाघातः m. hitting with a hammer, esp. the welding together of heated metal. -- dan -दन् । लघुकूटदण्डः m. the wooden handle of such a hammer. (Kashmiri)

धोकाळ [ dhōkāḷa ] m C A large blazing fire.(Marathi)

dukra दुक्र । वाद्यविशेषः m. a certain musical instrument, described as consisting of linked rings fixed to a staff. Cf. dahara.(Kashmiri)

Dhokra kamr or gharua of Bankura, Purulia, Midnapore, Burdwan in West Bengal, Malhars of Jharkhand and Sithrias of Orissa and Vis'wakarma of Tamil Nadu and Kerala also use the dhokra technique of metal casting.

That we are discussing dhokra art still practiced in India today may be seen 

from 

 

http://bharatkalyan97.blogspot.in/2014/01/meluhha-metallurgical-roots-and-spread.html 

Dhokra. Mother with five children.

"The specialty of Dhokra handicraft is that each relic seems to have been made up of a seamless wire coiled around the clay article. This is indeed an illusion as the metal casting is done using the lost-wax technique which forms the main attraction of this craft. It is believed that the lost-wax technique for copper casting had been found in other East Asian, Middle-East and Central American regions as well. In Purulia, the Dhokras make mixed aluminum by the lost wax process but do not make any images or figures; they rather make paikona, dhunuchi, pancha pradeep, anklets, and ghunghrus.  

Dhokra metal casting is generally famous for unique artefacts like animals, jewelry, piggybank (Buli), ornamented pots and various deities. In the genre of jewelry: payeri (anklets), hansuli (necklace), earrings and bangles are most in demand because of the style statement they impart. The single and multiple diya lamps are, even molded in the forms of elephants, and are considered auspicious for many Hindu occasions. Dhokra is the only live example of the metal casting in the East India as other similar crafts have faded away with time. But unfortunately, no substantial initiatives have been taken to promote and help sustain the Dhokra art in recent times in West Bengal." http://indianscriptures.com/vedic-society/arts/arts-and-traditions-of-west-bengal

"Carbon-14 dating of the reed mat in which the objects were wrapped suggests that it dates to at least 3500 B.C." http://www.metmuseumorg/toah/hd/nahl/hd_nahl.htm 

" I-1819, which comes from a piece of cloth found in a burial in nearby Cave 2, is slightly younger, but another short-lived sample, I-616 from the Cave of Horror at Nahal Hever, gave a result in the late 5th millennium." https://journals.uair.arizona.edu/index.php/radiocarbon/article/viewFile/879/884

תודה על המאמר. מעיון ראשון, ההתיחסות למטמון נחל משמר מענינת אבל דורשת עדכון- סדרת תאריכי פחמן חדשה יחסית (2011) מצביעה על 4400± לפנה״ס, לא סוף האלף ה ד׳.

להתראות, עוזי.

………………..Dr. Uzi Avner

I deeply appreciate the help provided by Dr. Uzi Avner for this update. I will provide the 2011 citation for the new C-14 dating in an addendum in due course.

Dr. Uzi Avner notes that "The first seminar, the reference in Nahal Mishmar hoard interesting but requires updating - a series of dates Carbon relatively new (2011) indicates ± 4400 BC, not the end of the fourth millennium."

This insight of Dr. Uzi Avner has a profound impact on chronology studies of the evolution of bronze age and writing systems.

Presence of dhokra (lost-wax artisans) in Nahal (Nachal) Mishmar is stunning and points to ancient Israel-India connections from 5th millennium BCE. I had noted that the two pure tin ingots found in Haifa shipwreck had Meluhha hieroglyphs to denote tin. ranku 'antelope'; ranku 'liquid measure' Rebus: ranku 'tin (cassiterite) ore'. S. Kalyanaraman, 2010, The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” - Decoding Indus script as repertoire of the mints/smithy/mine-workers of Meluhha, Journal of Indo-Judaic Studies, Number 11, pp. 47-74

A surprise that these were found in a shipwreck in Haifa !

Dhokra cire perdue (lost-wax) is a brilliant bronze age invention and should herald a new approach to explain the hieroglyphs on thousands of cylinder seals of the Fertile Crescent right from the chalcolithic times (ca. 5th millennium BCE -- now based on Nahal Mishmar new carbon-14 datings)  into the bronze age.

Also that harosheth hagoyim is cognate with kharoṣṭī goya lit. 'blacksmith lip guild'.

It is interesting that Dr. Moti Shemtov refers to Nahal Mishmar as Nachal Mishmar. It is similar to the change from Meluhha to Mleccha !

This Nahal Mishmar copper stand might have held a storage pot with a pointed bottom or a pot like the Susa pot which had a 'fish' hieroglyph and metal artifacts of tools and vessels. The Meluhha hieroglyph 'fish' read: ayo 'fish' (Munda) Rebus: ayo 'metal alloy' (Gujarati. Pali) 

It could also have held a Burzahom type-pot with beads and a buffalo-horn hieroglyph. 

 Glyph: kuṇḍī ‘crooked buffalo horns’ (Lahnda.) Rebus: kuṇḍī = chief of village (Prakrit). The artisan is kundakara— m. ‘turner’ (Skt.); H. kũderā m. ‘one who works a lathe, one who scrapes’ (CDIAL 3297). 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) கண்டி kaṇṭi buffalo bull (Tamil) Pk. gaḍa -- n. ʻlarge stoneʼ? (CDIAL 3969) K. garun, vill. gaḍun ʻ to hammer into shape, forge, put together ʼ. (CDIAL 3966). kaḍiyo [Hem. Des. kaḍa-i-o = (Skt. Sthapati, a mason) a bricklayer, mason (G.)]

English: Pot depicting horned figure. Burzahom (Kashmir), 2700 BC. National Museum, New Delhi. Noticed in the museum : the pot depicts horned motifs, which suggests extra territorial links with sites like Kot-Diji, in Sindh.

Français : Pot orné d'incisions et de motifs peints portant de grandes cornes recourbées, qui laissent supposer des liens extra territoriaux avec des sites tels que Kot-Diji, dans le Sindh. H env. 50cm. Site archéologique de Burzahom (Kashmir) daté 2700 av. J.-C. Musée National, New Delhi

Part of the copper hoard discovered in 1961, in Nahal Mishmar. "Hidden in a natural crevice and wrapped in a straw mat, the hoard contained 442 different objects: 429 of copper, six of hematite, one of stone, five of hippopotamus ivory, and one of elephant ivory. Many of the copper objects in the hoard were made using the lost-wax process, the earliest known use of this complex technique. For tools, nearly pure copper of the kind found at the mines at Timna in the Sinai Peninsula was used. However, the more elaborate objects were made with a copper containing a high percentage of arsenic (4–12%), which is harder than pure copper and more easily cast.Radiocarbon dating showed that they were from the Chalcolithic or Copper Age, between 4000 and 3500 BC." (Note: Now revised date points to 4400 BCE).

The most common objects were 118 of these "standards" or "scepters." What they really were is anybody's guess. Some had traces of reeds or wood in the holes, suggesting that they were attached to poles.

There are ten of these cylindrical objects in the hoard. They are conventionally known as "crowns," but more archaeologists think they were stands for vessels with pointed bottoms. 

What is one to make of this hippopotamus ivory object, essentially a slice from a hippo's tooth drilled with as many holes as would fit?

This object seems to be proof that the pushmi-pullyu really existed in the Chalcolithic era. 

The closest major site of this period is a shrine at the oasis of Ein Gedi, 7 miles (12 km) away, and the objects may have been hiddenwhen the shrine was under some kind of threat. The cave is in a steep ravine, accessible only with ropes and ladders, so it would have made a good hiding place. So good that this amazing collection of objects remained hidden for 5500 years.

FRIDAY, APRIL 6, 2012

http://benedante.blogspot.in/2012/04/treasure-of-nahal-mishmar.html

Nahal Mishmar treasure was discovered by chance , tucked in a secluded niche corner of a cave inhabited calcolítica located on the north side of the Nahal Mishmar throat , in the wilderness of Judah. Was wrapped in a mat and contained 442 different objects, 429 of copper, 6 oligisto , stone 1 , 5 , 1 hippo ivory elephant ivory . A collection of strange and unique findings and seems to have been hastily collected and hidden in the final days of occupation of the cave. In view of this, it has been suggested , plausibly , that the whole is the sacred shrine Enguedi treasure (which is apparently devoid of found objects), located just eight miles .


Most treasure objects are made of copper containing a variable percentage of arsenic, but always high ( 4 % -12 %). Most surprising is that this special copper was used only on objects made ​​with the lost wax technique rather simple chisels and hammers, lso found that 16. This distinction is also present in other sites . There is therefore a clear difference in the use of the two types of copper . For votes almost pure copper was used , although softer , for special objects no longer , harder and easier to empty arsenical copper was used.


The whole treasure is a magnificent collection of art objects. The objects are made of valuable materials , maintain high technological quality and have a superior finish . Their shapes witness to a developed artistic sense. It can be assumed , in view of the decorative motifs , which is a rich repository of religious symbolism.



a) Crowns


The cache ten cylindrical objects that seem crowns, with a diameter of 15'6 to 19 inches , and a height of 7 inches to 11'7 found. Two are provided with small feet. The body sometimes takes an incised decoration varied design : parallel lines , triangles and bands as Fishbone .


b ) The scepters



This is a group of 118 different objects , with lengths ranging from 7 to 40 inches. Some of the scepters retained traces of wooden handles or cane , and some was a black sticky substance. This has led archaeologists to conclude that the objects were taken on long poles , perhaps in sacred processions. A linen thread found in one of the Sceptres may indicate that they are bound lightweight materials such as tapes . All scepters are similar in shape but differ greatly in their size and detail of its decoration. The most splendid has five heads of animals (four of ibex and an animal with twisty horns) . It should be noted that similar scepters found at other sites .


c ) The poles


This term describes a group of stylized , long and solid scepters . Three of them appear refined versions of scepters with curved ends. The fourth is like the stem of a plant and the fifth has a flat head hooked .


d ) The sets standards



The three splendid banners of this group were definitely mounted on poles . The first is a hollow pear-shaped object with two twins ibex represented with one body , four legs and two heads. Each ibex is facing one of the biggest arms, one ax-shaped and the other knife , leaving the piriform body . The second banner has a short hollow columnilla a rectangular panel that extends from the center , made ​​in the form of a vulture with outstretched wings. The third is more modest ; swelling part of his plans four protruding out in four different directions.


e) The horn-shaped objects


Three objects in the form of curved horn emphasize the importance of the horns in the Chalcolithic ritual. Two of the horns lead schematic figures of birds.


f ) Containers


A jug turtleneck beautiful proportions , a cup or deep bowl and three cups shaped basket with high vertical handle are the only containers found in the treasure.


g) maceheads


The largest group of objects with a total of 261 , including several thickened (rounded , pear-shaped , elongated or discoidal ) forms that are usually called " mace heads " objects. All have a hole in the center to insert a handle . Some specimens preserved remains of wooden handles . The surface is well polished and all undecorated .


Although the mace-head was a common weapon in Mesopotamia and Egypt , these objects may not to be considered as weapons. Their presence in the treasure seems, rather, a ceremonial use. If similarity with convex parts of the banners and scepters supports this view .


Six mace heads were made of hematite , Natural iron oxide . Were emptied but not drilled , as yet no technology known iron work . Another club head is made of hard limestone .


h ) The objects made of hippo tusk



Five mysterious objects were hidden along with objects of copper hippopotamus ivory , sectioned along the tusk shaped scythe. Are perforated by three rows of round holes , and in the middle of each there is a hole with a protruding edge .


i ) Cash ivory


A final object of one type is an ivory box 38 inches long made ​​with a piece of elephant tusk well polished .
Translation from Spanish.http://curiosomundoazul.blogspot.in/2011/07/el-tesoro-de-nahal-mishmar.html

Mysteries of the Copper Hoard Fifty years have passed since Pessah Bar-Adon discovered, in a cave in the Judean Desert canyon of Nahal Mishmar, the biggest hoard of ancient artifacts ever found in the Land of Israel: 429 copper objects, wrapped in a reed mat. Five decades and dozens of academic papers after their discovery, the enigma of how and why these 6,000-year-old ritual objects ended up in a remote cave in the Judean Desert is still unsolvedBy Yadin Roman Extracted from ERETZ Magazine, June-July 2011
The Forum for the Research of the Chalcolithic Period, "a group of academics interested in this prehistoric age", according to Dr. Ianir Milevski (Israel Antiquities Authority), gathered on June 2 at the Israel Museum in Jerusalem in order to commemorate the fiftieth anniversary of the discovery of the most important find from this period: the Nahal Mishmar copper hoard. After a day of presenting new insights pertaining to the copper objects, the conference wrapped up with a discussion on the source of the items in the cave and the reason they were hidden there. The debate emphasized what has remained unsolved after 50 years of research: while it is widely accepted that the hoard is an assembly of ritual objects, there still is no agreement or plausible reason as to where the objects came from and why they were stashed away. The treasure was found while looking for something completely different. In 1947, Bedouins from the Ta’amireh tribe, who roamed the Judean Desert, discovered ancient parchments hidden in the caves of the sheer cliffs of the canyons leading down to the Dead Sea. Once it was discovered that these brittle parchments could bring in money when sold to dealers in Bethlehem and Jerusalem, the Bedouins turned into avid archaeologists, scouring the desert caves in search of ancient scrolls. In the 1950s, new scrolls sold to the dealers in Bethlehem, which was part of Jordan at the time, led archaeologists working in Jordan to discover letters and other artifacts in Nahal Murabba’at, south of Qumran, where the Dead Sea Scrolls had been found. As more pieces of ancient scrolls began to appear in the antiquities market, it was clear that some of them were coming from the Israeli side of the Judean Desert. The desert border between Israel and Jordan was a straight unmarked line on the map, inaccessible to vehicles. The Bedouins, even if they had heard of the newly set-up border, did not recognize it and crossed over freely from side to side. Immediately after the War of Independence, Prof. Eliezer Sukenik, the dean of Israeli archaeologists and the father of Yigael Yadin, discussed the need to survey the caves on the Israeli side of the Judean Desert. Sukenik had purchased the first three complete Dead Sea Scrolls on the eve of the War of Independence and his son would later purchase the four remaining complete scrolls in New York. The year that Sukenik died, 1953, the first, impromptu Israeli desert cave survey was conducted.

http://www.eretz.com/NEW/articlepage.php?num=27

Addendum on carbon-14 dating of Nahal Mishmar finds to ca. +4400 BCE:

Table 10.6 Radiocarbon determinations from Nahal Mishmar

Source: https://www.academia.edu/3427110/_2010_Developmental_Trends_in_Chalcolithic_Copper_Metallurgy_A_Radiometric_Perspective_Shugar_and_Gohm_

https://www.academia.edu/attachments/31198898/download_file  10. Developmental Trends in Chalcolithic Copper Metallurgy: A Radiometric Perspective -- Aaron N. Shugar and Christopher J. Gohm

http://www.scribd.com/doc/198085507/Shugar-and-Gohm-Chapter-10-2010-in-Print 

Shugar and Gohm Chapter 10 2010 in Print

http://bharatkalyan97.blogspot.in/2014/01/meluhha-dhokra-art-from-5th-millennium.html

Revisiting cire perdue in archaeological context and Meluhha hieroglyphs. 

Master's of fire: copper age art from Israel are exhibited in New York, March - June 8, 2014. The exhibits include some artefacts from Nahal Mishmar, the site extraordinaire evidencing cire perdue technology. 

Executive summary

This monograph reports that the profession of the specialist working with metals using the specialized technique of cire perdue (lost-wax casting) during the early bronze age was called dhokra kamar. 

This professional title, dhokra kamar, is evidenced by Meluhha hieroglyphs on a seal from Mohenjo-daro and on a tablet from Dholavira of Sarasvati Civilization. In ancient Indian texts, the cire perdue technique is referred to as madhucchiṣṭa vidhānam.  मधु madhu -उच्छिष्टम्,-उत्थभ्,-उत्थितभ् 1 bees'-wax; शस्त्रासवमधूच्छिष्टं मधु लाक्षा च बर्हिषः Y.3.37; मधूच्छिष्टेन केचिच्च जध्नुरन्योन्यमुत्कटाः Rām.5.62.11.-2 the casting of an image in wax; Mānasāra; the name of 68th chapter. This technique was clearly attested in the Epic Rāmāyaṇa. मधुशिष्ट madhuśiṣṭa 'wax' (Monier-Williams, p. 780).

First recorded use of wax for casting by sculptors (After figure in LB Hunt (embedded) document)

This note is a sixth sequel to the work: Philosophy of symbolic forms in Meluhha cipher. 

See the first to fifth sequels at: 

1.http://bharatkalyan97.blogspot.in/2014/04/meluhha-metallurgy-hieroglyphs-of.html Meluhha metallurgy: hieroglyphs of pomegranate, mangrove date-palm cone (raphia farinifera), an elephant's head terracotta Nausharo, Sarasvati civilization 

• 2.http://bharatkalyan97.blogspot.in/2014/04/ant-twisted-rope-and-other-meluhha.html  Twisted rope, ant and other Meluhha hieroglyphs on Ancient Near East and Indian seals.

3.http://bharatkalyan97.blogspot.in/2014/04/perforated-plaques-of-tello-lagash.html Perforated plaques of Tello, Lagash, Sumerian artifacts, and Meluhha hieroglyphs 

4.http://bharatkalyan97.blogspot.in/2014/04/zimrilims-palace-mural-painting-and.html  Zimrilim's palace mural painting and Meluhha hieroglyphs (Compliments to Jack M. Sasson) 

5. http://bharatkalyan97.blogspot.in/2014/04/tin-road-assur-kanesh-trade.html Tin road -- Assur-Kanesh -- trade transactions and Meluhha hieroglyphs 

Lost-wax casting. Bronze statue, Mohenjo-daro. Bronze statue of a woman holding a small bowl, Mohenjo-daro; copper alloy made using cire perdue method (DK 12728; Mackay 1938: 274, Pl. LXXIII, 9-11) 

Muhly speculates on the possible reason for using of hard alloy for lost-wax castings: "...perhaps arsenical copper was used at Nahal Mishmar not because it was harder, more durable metal but because it would have facilitated the production of intricate lost-wax castings." (Muhly, J., 1986, The beginnings of metallurgy in the old world. In Maddin R, ed., The beginning of the use of metals and alloys, pp. 2-20. Zhengzhou: Second International conference on the beginning of the use of metals and alloys.)

Dancing girl of Sarasvati civilization. 4.3 in. h. Mohenjo-Daro. “Metallurgists smelted silver, lead, and copper and worked gold too. Coppersmiths employed tin bronze as in Sumer, but also an alloy of copper with from 3.4 to 4.4 per cent of arsenic, an alloy used also at Anau in Transcaspia. They could cast cire perdue (lost wax) and rivet, but never seem to have resorted to brazing or soldering.” (Childe, Gordon, 1952, New light on the most ancien East, New York, Frederick A. Praeger)

 

'Dancing girl' 10.8 cm. from Mohenjo-daro of Sarasvati civilization dates to the early 2nd millennium BCE. (Marshall, 1931, Mohenjo-daro and the Indus civilization, Vol. I, London, Arthus Probsthain, p. 345; pl. 94). 

It is unclear if the following artefacts were also made by the cire perdue (lost-wax) casting technology: a bronze foot and anklet from Mohenjo-daro; and a bronze figurine of a bull (Kalibangan). (Courtesy: ASI) 

"Archaeological excavations have shown that Harappan metal smiths obtained copper ore (either directly or through local communities) from the Aravalli hills, Baluchistan or beyond. They soon discovered that adding tin to copper produced bronze, a metal harder than copper yet easier to cast, and also more resistant to corrosion."

Dance-step as hieroglyph on a potsherd, Bhirrana. Hieroglyph: 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)

Yuval Gorden notes:"While the traditional manifestation of the technology has vanished from many parts of the world, it has survived in some areas of India. The tradition is carried on in the manufacture of small pieces by tribal groups or by Hindu metalworkers. These tribal people live in the districts of Bankura, Burdwan, and Midnapore in West Bengal...The Dhokra apply two or more layers of clay on top of the wax model. First, a thin clay paste is added and allowed to dry; then a layer of rougher clay mixed with rice husks is added and also allowed to dry. A hole is sometimes cut through the top of the clay coverings to allow for the entrance of the molten metal. Likewise, a channel is made in the bottom to let the wax flow out of the mold. Metal wires are then tied around the whole construction to keep it intact. The mold is heated
until the wax is melted and poured out...Once the mold mixture has set hard, the molds are placed in a furnace and heated until the wax is melted and integrated into the rather spongy fabric of the mold. Then the heating continues until the metal is melted, made evident by a green tinge of the fire, at which point the molds are turned upside down and filled with the liquid metal from the flask. This point is extremely important for our discussion, because it indicates that crucibles are not necessarily used in the process of lost wax casting, in contrast to open casting, where their use is mandatory."

Ibex and birds on Nahal Mishmar artefacts

After examining several artefacts of Nahal Mishmar hoard, Goren concludes: "The results of this study indicate that all the examined materials were the remains of the casting molds...This indeed indiates that the Chalcolithic technology of mold construction for the lost wax casting technique was well established and performed by specialists. Moreover, the emphasized homogeneity of the materials and technology in use, regardless of the location of the find, stands against the possibility of production by itinerary craftsmen and supports the idea that all of these items were produced by a single workshop or workshop cluster. The results make it clear that, although Chalcolithic mold production and casting techniques can be compared to some extent with the methods of traditional craftsmen such as the Dhokra of India, they are far more sophisticated and thus more analogous with the mold construction techniques used today by modern workshops...some motifs...specifically depict ibexes and vultures...It is likely that these animals were seen as protectors of this highly skilled metallurgy... (ibex) representation in the En Gedi sanctuary might be related to the special role of this animal in the decoration fo the Chalcolithic metal artifacts as well as ossuaries. (p.393)"

[Yuval Goren, 2008, The location of specialized copper production by the lost wax technique in the chalcolithis southern Levant, Geoarchaeology: An international Journal, Vol. 23, No. 3, 374-397 (2008), p. 377].
http://www.scribd.com/doc/220039411/Yuval-Goren-2008-The-location-of-specialized-copper-production-by-the-lost-wax-technique-in-the-chalcolithis-southern-Levant-Geoarchaeology-An-int

Radiocarbon dating of Nahal Mishmar reed mat  by Arizona AMS laboratory takes at least some of (the finds to 5375 +_ 55 to 6020+_60 BP). (Aardsman, G., 2001, New radiocarbon dates for the reed mat from the cave of the treasure, Israel, Radiocarbon, Volume 43, number 3: 1247-1254). This indicates the possibility that cire perdue technique was already known to the metallurgists who created the Nahal Mishmar artefacts. There is, however, a possibility that all the artefacts of the Nahal Mishmar hoard may not belong to the same date and hence, cire perdue artefacts might have been acquisitions of a later date. (Shlomo Guil 

https://www.academia.edu/5689136/Reflections_Upon_Accepted_Dating_of_the_Prestige_Items_of_Nahal_Mishmar)

I suggest that an alternative interpretation for the use of ibex and birds on Nahal Mishmar artefacts. They may be Meluhha hieroglyphs describing the specific metallurgical skill of and materials used by the artisans.

The double ibex was made using a complicated wax and ceramic mold..Standard (scepter) 

with ibex heads.


Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ ‘ram’, miṇḍā́l ‘markhor’ 

(CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Munda.Ho.) dula 'pair' Rebus: dul 'cast metal'. āra‘six’ Rebus: āra ‘brass’

Nahal Mishmar. Crown with building facade decoration and birds.

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

sã̄gāḍā m. ʻ frame of a building ʼ (M.)(CDIAL 12859) Rebus: jaṅgaḍ ‘entrustment articles’ sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda).(CDIAL 12845) Allograph: saṅgaḍa ‘lathe’. 'potable furnace'. sang ‘stone’, gaḍa ‘large stone’. dula 'pair' Rebus: dul 'cast metal'. koḍ ‘horns’ Rebus: koḍ‘artisan’s workshop’.

[quote] Among the items displayed in ISAW’s Masters of Fire exhibit are Nahal Mishmar finds—intricately crafted scepters and mace heads—that were made using the relatively advanced lost-wax castingtechnique, in which a mixture of copper, arsenic, antimony, and nickel is poured into a mold. One highlight is a circular metal object with decorative horns and vultures (birds) protruding from the top—but don’t let its shape fool you, notes curator Michael Sebanne of the Israeli Antiquities Authority. This “crown” was probably too heavy, and too small in circumference, to be worn; it’s more likely a model of a temple or a tomb, Sebanne says.

We know that people living in the Middle East more than 6,000 years ago raised livestock for dairy, crafted exquisite vessels out of copper, and took great care in burying their dead. But what did they believe? How did they view the world? Did they conceive of the beautiful objects they made as art?

These are the questions at the heart of Masters of Fire: Copper Age Art From Israel, a current NYU Institute for the Study of the Ancient World exhibit displaying 157 items from the Chalcolithic Era (4500-3600 BCE)—otherwise known as the Copper Age. Over the past eight decades of archaeological discovery, scholars have determined that this was the period in which the people of the Southern Levant first settled in organized villages headed by tribal chiefs; first imported raw metals from great distances to forge tools; and first dedicated sanctuaries for cults and rituals. For the first time, workers specialized in agriculture and particular crafts, and wool, cheese, olives, and dates were produced on a large scale.

But mysteries still remain. To look at these artifacts is to confront adistant, and yet recognizable, ancestor—foreign, and yet somehow familiar.

---

Video: Were people 6,000 years ago “just like us”?

Jennifer Y. Chi, ISAW Exhibitions Director and Chief Curator,introduces Masters of Fire.[unquote]

http://www.nyu.edu/about/news-publications/nyu-stories/a-sneak-peek-at-isaw-s--masters-of-fire-.html

"The technical aspects of the lost-wax technique have also been discussed in three early Sanskrit texts, the Manasollasa, the Silparatna and the Manasara, in the context of solid or hollow casting of idols. The 12th-century Manasollasa describes the making of lost-wax moulds with a smooth paste made by grinding a mix of clay, rice husks, 'cotton severed a hundred times' and salt. The paste was smeared over the wax (thin enough to be transparent). After drying for two days a second then a third coat were applied, each being thicker than the previous one (Krishnan, MV, 1976, Cire perdue casting in India, New Delhi, Kanak, p.2). The 16th-century Silparatna also describes the making of lost-wax moulds by applying very soft wet clay to the wax followed by a coat of soft clay once it had dried. Finally, hard clay was applied. Hard clay was made from material procured from an ant hill mixed with brick powder and arecanut husk juice. Soft clay was made from four parts of pot clay and ten of ordinary clay. Very soft clay was soft clay mixed with cow dung (Krishnan, MV, 1976, Cire perdue casting in India, New Delhi, Kanak, p.4). While these descriptions postdate the period of interest, they do provide an insight into traditional practices of lost-wax casting that predate the use of modern materials and they illuminate the issues that are important for the study of the history of the process." (Davey, Christopher J., The early history of lost-wax casting, in: J. Mei and Th. Rehren, eds., Metallurgy and Civilisation: Eurasia and Beyond Archetype, London, 2009, ISBN 1234 5678 9 1011, pp. 147-154;p.149)

Pliny (1st century) refers to lost-wax casting: "The first person to make a plaster likeness of a human being from the actual face, and having poured wax on to (into) this plaster mould, to make final corrections to the wax cast, was Lysistratus of Sicyon, the brother of Lysippus I have mentioned... Lysistratus also invented the taking of casts from statues, and this practice became so widespread that no statues or figures were made without a clay model." (Pliny the Elder,2004, Natural History: A selection, JF Healy, trans., London, Penguin Books, p.336f.)

Detail of the lost-wax mould from Tell edh-Dhiba'i showing its layered construction. 1st half of 2nd millennium BCE (After Fig. 2 CJ Davey)

"Pins with round heads have been found in Early Dynastic graves.  The ‘A’ cemetery at Kish, for example, has a number of pins, the round heads of which were deemed by the excavators to be cast (Mackay, E., 1929, A Sumerian palace and the 'A' cemetery at Kish, Mesopotamia, Chicago, Field Museum Press. 171, pl. 40). This cemetery has been redated to Early Dynastic III (2500–2600 BC) by Whelan (Whelan, E., 1978, Dating the A cemetery at Kish: a reconsideration, Journal of Field Archaeology 5: 79-96;p.96) that is about contemporary with the royal cemetery of Ur. This reliably attests to this process of lost-wax casting in Mesopotamia at about 2500 BCE...

"The ease with which a round cross-section can be formed using a soft wax material explains much of the attractiveness of lost-wax casting. The shape thus formed may not be complex, but it has smooth curved surfaces and it is this feature that is the hallmark of objects produced by lost-wax casting. Objects with delicate round sections such as the Mohenjo-daro dancing girl are classical lost-wax casting shapes."(Davey, Christopher J., The early history of lost-wax casting, in: J. Mei and Th. Rehren, eds., Metallurgy and Civilisation: Eurasia and Beyond Archetype, London, 2009, ISBN 1234 5678 9 1011, pp. 147-154;pp.149-150).

"The use of fine and coarse clays reveal that the practices described by the Sanskrit and medieval texts were established by 1700 BCE in Mesopotamia. The attention to the quality of the casting's surface represents an advance in the technology of lost-wax casting." (Davey, Christopher J., The early history of lost-wax casting, in: J. Mei and Th. Rehren, eds., Metallurgy and Civilisation: Eurasia and Beyond Archetype, London, 2009, ISBN 1234 5678 9 1011, pp. 147-154;p.150).

"Benoit Mille has drawn attention to copper alloy 'amulets' discovered in the early Chalcolithic (late 5th millennium) levels of Mehrgarh in Baluchistan, Pakistan. He reported that metallographic examination established that the ornaments were cast by the lost-wax method (Mille, B., 2006, 'On the origin of lost-wax casting and alloying in the Indo-Iranian world', in Metallurgy and Civilisation: 6th international conference on the beginnings of the use of metals and alloys, University of Science and Technology, Beijing, BUMA VI). The amulets were made from copper alloyed with lead. Mehrgarh is well recognised as a centre for early pyrotechnologies. The wax models of the amulets would have been solid and may have had a simple core inserted. This is understandably the first stage in the technology. Mille also draws attention to the 'Leopards weights' from Baluchistan, dating to about 3000 BCE which were made using a complex core keyed into the investment mould."(Davey, Christopher J., The early history of lost-wax casting, in: J. Mei and Th. Rehren, eds., Metallurgy and Civilisation: Eurasia and Beyond Archetype, London, 2009, ISBN 1234 5678 9 1011, pp. 147-154; p. 151).

http://www.scribd.com/doc/219986780/Davey-Christopher-J-The-early-history-of-lost-wax-casting-in-J-Mei-and-Th-Rehren-eds-Metallurgy-and-Civilisation-Eurasia-and-Beyond-Archety

The Leopards weight from Shahi Tump - Photography and 30 MeV accelerator tomodensimetry showing the copper shell and the lead filling.(Science for Cultural Heritage: Technological Innovation and Case Studies in Marine and Land Archaeology in the Adriatic Region and Inland : VII International Conference on Science, Arts and Culture : August 28-31, 2007, Veli Lošinj, Croatia, World Scientific, 2010. The aim of the conference was to discuss the contribution of physics and other sciences in archaeological research and in the preservation of cultural heritage.) 

Shahi Tump. Kech valley, Makran division, Baluchistan, Pakistan (After Fig. 1 in Thomas et al)

See: 

http://bharatkalyan97.blogspot.in/2014/02/identity-of-ancient-meluhha-blacksmiths.html  

Identity of Ancient Meluhha blacksmiths, using archaeometallurgy and cryptography in a socio-cultural context

http://bharatkalyan97.blogspot.in/2014/01/meluhha-metallurgical-roots-and-spread.html  

Meluhha: spread of lost-wax casting in the Fertile Crescent. Smithy is the temple. Veneration of ancestors. The monograph is presented in the following 9 parts to demonstrate the trail of lost-wax metallurgy from roots in Meluhha. 

"The elemental composition determination of ancient copper-based artefacts is an important tool to address archaeometallurgical issues, such as the assessment of technological skills and metal circulation in a definite chrono-cultural context. The rise of a new generation of inductively-coupled-plasma atomic-emission spectrometry has led us to reconsider the whole analytical protocol, resulting in significant improvements of the performance: an increased number of elements determined, lower limits of detection and a better reliability were achieved together with a diminishing of sample quantity and time of analysis. The archaeometallurgical studies take full benefit of these improvements, as exemplified by the major results regarding technological practices in antiquity brought to light by the study of a Greek bronze masterpiece, the Vix crater." (D Bourgarit and B Mille 2003 Meas. Sci. Technol. 14 1538) 

doi:10.1088/0957-0233/14/9/306

The elemental analysis of ancient copper-based artefacts by inductively-coupled-plasma atomic-emission spectrometry: an optimized methodology reveals some secrets of the Vix crater

http://iopscience.iop.org/0957-0233/14/9/306/pdf/0957-0233_14_9_306.pdf

Mehergarh. 2.2 cm dia. 5 mm reference scale. Perhaps coppper alloyed with lead. [quote]Bourgarit and Mille (Bourgarit D., Mille B. 2007. Les premiers objets métalliques ont-ils été fabriqués par des métallurgistes ? L’actualité Chimique . Octobre-Novembre 2007 - n° 312-313:54-60) have  reported the finding (probably in the later still unreported excavation period) of small Chalcolithic “amulets” which they claim to have been produced by the process of Lost Wax. According to them, “The levels of the fifth millennium Chalcolithic at Mehrgarh have delivered a few amulets in shape of a minute wheel, while the technological study showed that they were made by a process of lost wax casting. The ring and the spokes were modelled in wax which was then coated by a refractory mould that was heated to remove the wax. Finally, the molten metal was cast in place of the wax. Metallographic examination confirmed that it was indeed an object obtained by casting (dendrite microstructure). This discovery is quite unique because it is the earliest attestation of this technique in the world.” They then, further on, state that “The development of this new technique of lost wax led to another invention, the development of alloys...Davey (Davey C. 2009.The Early History of Lost-Wax Casting, in J. Mei and Th. Rehren (eds), Metallurgy and Civilisation: Eurasia and Beyond Archetype, pp. 147-154. London: Archetype Publications Ltd.) relies only upon these Mehrgarh findings , as well as on the Nahal Mishmar hoard, to claim that Lost Wax casting began in the Chalcolithic period before 4000 BCE.” [unquote]  (Shlomo Guil) https://www.academia.edu/5689136/Reflections_Upon_Accepted_Dating_of_the_Prestige_Items_of_Nahal_Mishmar

Cireperdue method was used in Uruk, ca. 3500  BCE. to make a recumbent ram in silver which is mounted on pins and dowelled into the center of a cylinder seal. This was a hieroglyph, tagged to cylinder seal method of writing by impressing an agreement to a transaction or to indicate ownership. This cylinder seal is carved with figures of cattle. Ashmolean Museum, Univ. of Oxford. "The Ashmolean Museum describes this item as a cylinder seal showing a herd of cattle and reed huts  containing calves and vessels. The seal itself is made of magnesite (MgCO3 ) with small (a few centimeters)  cast silver ram-shaped finial. No claim is made by the museum that it was produced by the Lost Wax process and it is dated by the museum to the Late Uruk period or “around 3200 BCE”. The item has been purchased by the museum but its provenance is unknown and therefore cannot be precisely dated." (Shlomo Guil)https://www.academia.edu/5689136/Reflections_Upon_Accepted_Dating_of_the_Prestige_Items_of_Nahal_Mishmar

Bull figure with a vertical hole Maykop kurgan (Oshad) Middle of the 4th millenium B.C.E.Silver Bull figure with a vertical hole Maykop kurgan (Oshad)Middle of the 4th millenium B.C.E.Gold. 

http://www.hermitagemuseum.org/html_En/04/b2003/hm4_2_013_1.html  

"Maykop culture (also spelled Maikop), ca. 3700 BC—2500 BC, was a major Bronze Age archaeological culture in the Western Caucasus region of Southern Russia. It extends along the area from the Taman Peninsula at the Kerch Strait to near the modern border of Dagestan and southwards to the Kura River."http://www.pinterest.com/pin/42925002672130103/  "The skeleton of a chief, thickly covered with cinnabar, (red mercury sulphide) lay in the southern half of the chamber. Ten objects, made of arsenical copper were placed on a woven mat along with three stone objects. Also found were about twenty silver and gold vessels, kettles, a bucket and bowls all made of arsenical copper. Next to the body lay hollow rods of silver and gold compound, some of which were inserted into gold and silver bull figures of approximate height of 8 cm. There were four bulls in all, two of gold and two of silver. There is no doubt that the bull statuettes were produced by the Lost Wax technique."  (Shlomo Guil) https://www.academia.edu/5689136/Reflections_Upon_Accepted_Dating_of_the_Prestige_Items_of_Nahal_Mishmar

Rhyton in shape of a Zebu, Eastern Iran/Western Central Asia, late 3rd to early 2nd millennium B.C.E. http://www.pinterest.com/pin/23643966766824376/ 

Standard with two long–horned bulls, 2400–2000 B.C.; Early Bronze Age III North central Anatolia Arsenical copper; H. 6 1/4 in. (15.9 cm) This pair of long-horned bulls probably served as a finial for a religious or ceremonial standard. Cast separately, they are held together by extensions of their front and back legs, bent around the plinth. A pierced tang at the base suggests that the pair was connected to another object.   http://www.metmuseum.org/toah/works-of-art/55.137.5

Bronze bull. 5 in. h. X 7 in. l. Empty eye-sockets possibly held semiprecious stones. The small hump on its back, amove the forelegs, identifies this as a “Zebu bull” (Bos indicus), a species that originated in India, but which was present in the Near East as early as the fourth millennium B.C.E. Prof. Amihai Mazar, 1983, Bronze Bull Found in Israelite “High Place” from the Time of the Judges, BAR 9:05, Sep/Oct 1983 notes that the discovery was made on the summit of a hill in northern Samaria. Meluhha rebus readings:

khũṭ ‘zebu’. Rebus: khũṭ ‘guild, community’; adar ḍaṅgra ‘zebu or humped bull’; rebus: aduru ‘native metal’ (Kannada);  ḍhangar  ‘blacksmith’ (Hindi) 

A brief account of the remarkable find is provided: Bronze Bull, c. 1200 BCE

A bronze bull statuette measuring 5” x 7” was found on the ground surface at a hilltop site near Dothan in northern Samaria. The hump-backed Zebu bull depicted, not native to the region of Israel, was portrayed in drawings and figurines from second and first millennium Mesopotamia, Anatolia (ancient Turkey), Syria, Lebanon, Cyprus, and Egypt. A bronze figurine comparable to the Bull Site example was found in a Late Bronze Age (ca. 1600-1200 BCE) temple at Hazor in northern Israel. The style of casting suggests northern manufacture, perhaps in Syria...

The Bull Site sacred precinct consisted of a stone border enclosing a 70-foot diameter elliptical circle. In addition to the bull, the enclosure contained a paving or platform of flat stones to level the bedrock and beside it a large, roughly hewn stone measuring 4 feet long, 3 feet high, and 1.75 feet thick. A piece of an Egyptian bronze mirror(?) and the ceramic base perhaps of an incense stand or miniature shrine lay nearby. Pottery in the vicinity dated the site to approximately 1200 BCE. Settlements in the surrounding area, all farmsteads, also dated to approximately 1200 BCE.

The Bull Site and Ancient Israel

The locale is an isolated hilltop in the central highlands near Mt. Gilboa, in the territory ascribed to the tribe of Manasseh. Both the bull figurine and the large stone, interpreted as a (reclining) standing stone (massebah) or an altar render the site cultic... 

For further reading see the popular, illustrated account by A. Mazar, “Bronze Bull Found in Israelite ‘High Place’ from the Time of the Judges” BAR 9.5 (1983) 34-40 or the more technical account in “Bull Site” NEAEHL I: 266-67. Mazar responds to M. Coogan’s challenging the cultic identification in “On Cult Places and Early Israelites: A Response to Michael Coogan” BAR 14.1 (1988). For the Tel Dan plaque see A. Biran, “Two Bronze Plaques and the Hussot of Dan” IEJ 49 (1999) 54, fig. 14.

Elizabeth Bloch-Smith

http://cojs.org/cojswiki/Bronze_Bull%2C_c._1200_BCE

Tell Judaidah (Amuq valley) bronze figurines, southern Turkey bordering Syria are the oldest examples of true bronze (combination of copper and tin) known. They date to about 3000 B.C.E. . Six figurines. Braidwood R, Braidwood L.1960. Excavations in the Plain of Antioch I .Chicago : The University of Chicago Press.plate 56. "Braidwood determined that the figurines were cast and after some considerations concluded that “there is no 

doubt that the figures were made by lost-wax casting process. The chemical composition of these items 

were found by him to be copper and tin. Yener and Wilkinson (Yener K. A and Wilkinson T. J . 1997. Amuq valley regional project, The oriental institute, Chicago) report that High-energy X rays analysis of one of the Tell Al-Judaidah figurines revealed signs of breakage at the knees and ancient welding with lead. Made of bronze with high amounts of tin, the figurine had silver gold decorations on its belt and chest and a silver helmet. The high peaks for barium suggest the use of flux." (Shlomo Guil) https://www.academia.edu/5689136/Reflections_Upon_Accepted_Dating_of_the_Prestige_Items_of_Nahal_Mishmar

Drink beer with the Code together with a lovemaking representation of a Sumerian clay tablets 

 over 1800BCE Louvre, France.

http://www.scribd.com/doc/219941226/Long-History-of-Lost-Wax-Casting-Lb-Hunt

"The earlier fourth millennium BC hoard of over 400 copper objects and thirteen of other materials discovered in 1961 in a cave in the Nahal Mishmar, west of the Dead Sea in Israel, is of worldwide significance for the earliest history of copper metallurgy. This paper, in seeking to make the hoard's significance more explicit, argues that it is all the product of settlements in the northern Negev of Israel probably obtaining their copper from mines in the Wadi Feinan, Jordan. It may originally have come from a local temple treasury." (P. R. S. Moorey,  1988, he Chalcolithic hoard from Nahal Mishmar, Israel, in context,  World Archaeology , vol. 20, no. 2, pp. 171-189, 1988).

Prehistoric metalworking in the southern Levant: Archaeometallurgical and social perspectives (Citations: 12)

• Thomas E. Levy, Sariel Shalev
  This paper examines some of the processes which may have led to the initial adoption of metallurgy during the Chalcolithic (ca. 4500–3200 BCE) period in ancient Palestine. An archaeometallurgical study of metal‐related finds from the Negev desert demonstrates the presence of two distinct metal industries during the Chalcolithic; one for the production of tools and the other for the ...
  Journal: World Archaeology , vol. 20, no. 3, pp. 352-372, 1989

The Emergence of Complex Metallurgy on the Iranian Plateau: Escaping the Levantine Paradigm (Citations: 2)

• Christopher Peter Thornton
  Models for the development of metallurgy in Southwest Asia have for a long time been focussed on research carried out in the lowland regions of the Levant and Mesopotamia. These models do not take into account the different developmental trajectories witnessed in the resource-rich highlands of Anatolia, the Caucasus, and Iran. In this paper, the beginnings of the use ...
  Journal: Journal of World Prehistory , vol. 22, no. 3, pp. 301-327, 2009

New Light on the Development of Chalcolithic Metal Technology in the Southern Levant (Citations: 1)

• Jonathan Golden
  Several decades after the discovery of the spectacular Nahal Mishmar Hoard (a collection of cast metal goods, some quite ornate, found in a cave high in the cliffs of the Judean Desert) many important questions about Chalcolithic metallurgy in the southern Levant remain unanswered. What is the origin of the materials used? Where were the final goods produced and what ...
  Journal: Journal of World Prehistory , vol. 22, no. 3, pp. 283-300, 2009

The location of specialized copper production by the lost wax technique in the Chalcolithic southern Levant(Citations: 3)

• Yuval Goren
  Journal: Geoarchaeology-an International Journal - GEOARCHAEOLOGY , vol. 23, no. 3, pp. 374-397, 2008

Risley defines 'Dhokra' as: "A sub-caste of kamars or blacksmiths in Western Bengal, who make brass idols." (Risley, HH ,1891, The Tribes and Castes of Bengal. Government of Bengal, Calcutta Vol. 1, p. 236)

See: http://bharatkalyan97.blogspot.in/2014/04/meluhha-metallurgy-to-bronze-age.html 

Meluhha metallurgy to Bronze Age civilizations

Mohenjo-daro seal depicts a hieroglyph composition, comparable to the horned, decrepit woman with hanging breasts and ligatured to bovine hindlegs and tail as shown on one side of the Dholavira tablet. There is an added narrative of two hieroglyphs: horned tiger and a leafless tree.

I would like to comment on the following Fig. 16 of Parpola's paper (Beginnings of Indian astronomy (Asko Parpola, 2013) With reference to a parallel development in China. in: History of Science in South Asia 1 (2013), pp. 21-78):

Fig. 16 Two-faced tablet from Dholavira, Kutch, Gujarat, suggesting child sacrifice (lower picture) connected with crocodile cult (upper picture). After Parpola 2011: 41 fig. 48 (sketch AP). 'Crocodile in the Indus civilization and later south Asian traditions'. In Linguistics, archaeology and the human past: occasional paper 12, ed. Toshiki Osada & Hitoshi Endo. Pp. 1-58. Kyoto: Indus Project, Research Institute for Humanity and Nature.

To compare the details provided by AP's sketch on this Fig. 16, I reproduce below a photograph of the tablet:

Even assuming that a seated person on the lower sketch figure with raised arms carries 'children' I do not see how Asko Parpola (AP the sketch-maker) can jump to the conclusion of 'suggested child sacrifice'.

Dholavira molded terracotta tablet with Meluhha hieroglyphs written on two sides. 

Some readings: 

Hieroglyph: Ku. ḍokro, ḍokhro ʻ old man ʼ; B. ḍokrā ʻ old, decrepit ʼ, Or. ḍokarā; H. ḍokrā ʻ decrepit ʼ; G. ḍokɔ m. ʻ penis ʼ, ḍokrɔ m. ʻ old man ʼ, M. ḍokrā m. -- Kho. (Lor.) duk ʻ hunched up, hump of camel ʼ; K. ḍọ̆ku ʻ humpbacked ʼ perh. < *ḍōkka -- 2. Or. dhokaṛa ʻ decrepit, hanging down (of breasts) ʼ.(CDIAL 5567). M. ḍhẽg n. ʻ groin ʼ, ḍhẽgā m. ʻ buttock ʼ. M. dhõgā m. ʻ buttock ʼ. (CDIAL 5585). Glyph: Br. kōnḍō on all fours, bent double. (DEDR 204a) Rebus: kunda ‘turner’ 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) Tiger has head turned backwards. క్రమ్మర krammara. adv. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు (Telugu). Rebus: krəm backʼ(Kho.)(CDIAL 3145) karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali) Hieroglyph: krəm backʼ(Khotanese)(CDIAL 3145) Rebus: karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)

Hieroglyphs to children held aloft on a seated person's hands: dula 'pair' Rebus: dul 'cast metal' kuṛī 'girl, child' Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛohouse, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu)

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

Rebus: koḍ 'workshop' (Gujarati) 

kāruvu ‘crocodile’ Rebus: khar ‘blacksmith’ (Kashmiri)  

kola 'tiger' Rebus: kol 'working in iron', kolhe 'smelters' kolle 'blacksmith''pañcaloha, alloy of five metals'.

Hieroglyph: dhokra ‘decrepit woman with breasts hanging down’. Rebus: dhokra kamar 'artisan caster using lost-wax technique'.

See: http://bharatkalyan97.blogspot.in/2014/01/meluhha-hieroglyphs-1-dhokra-lost-wax.html 

Meluhha hieroglyphs: 1. Dhokra kamar lost-wax metal caster; 2. Dance-step of Mohenjo-daro metal cast

kŕ̊tā -- ʻgirlʼ (RV); kuṛäˊ ʻgirlʼ (Ash.); kola ‘woman’ (Nahali); ‘wife’(Assamese). *kuḍa1 ʻ boy, son ʼ, °ḍī ʻ girl, daughter ʼ. [Prob. ← Mu. (Sant. Muṇḍari koṛa ʻ boy ʼ, kuṛi ʻ girl ʼ, Ho koa, kui, Kūrkū kōn, kōnjē); or ← Drav. (Tam. kur̤a ʻ young ʼ, Kan.koḍa ʻ youth ʼ) T. Burrow BSOAS xii 373. Prob. separate from RV. kŕ̊tā -- ʻ girl ʼ H. W. Bailey TPS 1955, 65. -- Cf. kuḍáti ʻ acts like a child ʼ Dhātup.] NiDoc. kuḍ'aǵa ʻ boy ʼ, kuḍ'i ʻ girl ʼ; Ash. kūˊṛə ʻ child, foetus ʼ, istrimalī -- kuṛäˊ ʻ girl ʼ; Kt. kŕū, kuŕuk  ʻ young of animals ʼ; Pr. kyútru ʻ young of animals, child ʼ, kyurú ʻ boy ʼ,kurīˊ ʻ colt, calf ʼ; Dm. kúŕa ʻ child ʼ, Shum. kuṛ; Kal. kūŕ*lk ʻ young of animals ʼ; Phal. kuṛĭ̄ ʻ woman, wife ʼ; K. kūrü f. ʻ young girl ʼ, kash. kōṛī, ram. kuṛhī; L. kuṛā m. ʻ bridegroom ʼ,kuṛī f. ʻ girl, virgin, bride ʼ, awāṇ. kuṛī f. ʻ woman ʼ; P. kuṛī f. ʻ girl, daughter ʼ, P. bhaṭ.  WPah. khaś. kuṛi, cur. kuḷī, cam. kǒḷā ʻ boy ʼ, kuṛī ʻ girl ʼ; -- B. ã̄ṭ -- kuṛā ʻ childless ʼ (ã̄ṭa ʻ tight ʼ)? -- X pṓta -- 1: WPah. bhad. kō ʻ son ʼ, kūī ʻ daughter ʼ, bhal. ko m., koi f., pāḍ.kuā, kōī, paṅ. koā, kūī. (CDIAL 3245)

kōla1 m. ʻ name of a degraded tribe ʼ Hariv. Pk. kōla -- m.;  B. kol  ʻ name of a Muṇḍā tribeʼ(CDIAL 3532).

Thomas, Romain, Margareta Tengberg, Christopher Moulherat, Vincent Marcon & Roland Besenval, 2012, Analysis of a protohistoric net from Shahi Tump, Baluchistan, Pakistan, in: Archaeol. Anthropol Sc. (2012) 4: 15-23.

http://www.scribd.com/doc/219996479/Thomas-Romain-Margareta-Tengberg-Christopher-Moulherat-Vincent-Marcon-Roland-Besenval-2012-Analysis-of-a-protohistoric-net-from-Shahi-Tump-Ba

 

 

Structure of a double-stranded S-lay cord obtained by the association of two Z-lay yarns. Examle of a S- and Z-lay mesh knots. The net discussed in the article was found in a burnt layer above the strands of the net, which have been 14C dated to be not later than 5125+_65 BP (3984-3803 cal BCE, Pa2399) and 5040+_30 BP (3938-3787 cal BCE, Pa 2396).

Dwarf palm N. ritchieana. Rope-making by plying (or twisting) four leaf strands of N.ritchieana, Makran, Pakistan. The rope-maker sits on a mat equally produced from palm leaves (photograph by M. Tengberg)

Leopards weight of Shahi Tump (Balochistan), National Museum, Karachi. The artefact was discovered in a grave, in the Kech valley, in Balochistan. ca. 4th millennium BCE. 200 mm. h. 13.5kg wt. The shell has been manufactured by lost-wax foundry of a copper alloy (12.6% Pb, 2.6% As), then it has been filled up through lead (99.5%) foundry. The shell is engraved with figures of leopards hunting wild goats, made of polished fragments of shellfishes. No identification of the artefact's use has been given. (Scientific team: B. Mille, D. Bourgarit, R. Besenval, Musee Guimet, Paris.

Meluhha hieroglyphs:

karaḍa  ‘panther’ Rebus: karaḍa ‘hard alloy’. mlekh 'goat' Rebus: milakkhu 'copper' (Pali)

(Source: 

B. Mille, R. Besenval, D. Bourgarit, 2004, Early lost-wax casting in Balochistan (Pakistan); the 'Leopards weight' from Shahi-Tump. in: Persiens antike Pracht, Bergbau-Handwerk-Archaologie, T. Stollner, R Slotta, A Vatandoust, A. eds., pp. 274-280. Bochum: Deutsches Bergbau Museum, 2004.

Mille, B., D. Bourgarit, JF Haquet, R. Besenval, From the 7th to the 2nd millennium BCE in Balochistan (Pakistan): the development of copper metallurgy before and during the Indus Civilisation, South Asian Archaeology, 2001, C. Jarrige & V. Lefevre, eds., Editions Recherches sur les Civilisations, Paris, 2005.)

Long History of Lost Wax Casting LB Hunt  http://download.springer.com/static/pdf/892/art%253A10.1007%252FBF03215456.pdf?auth66=1398436746_9cc28bfaacd05f9d399320082ee56bd2&ext=.pdf

http://www.scribd.com/doc/219968310/Southasia-world-coocan-jp-uesugi-2010b-pdf%E2%80%8E

Long History of Lost Wax Casting Lb Hunt

http://bharatkalyan97.blogspot.in/2014/04/revisiting-cire-perdue-in.html

Meluhha standard compares with Nahal Mishmar standard. Meluhha (Asur) guild processions. 

 Nahal Mishmar hoard also had a copper alloy U-shaped vessel comparable in shape to the one shown on Meluhha standard as a crucible or portable furnace. The zig-zag shaped decoration on the copper vessel is comparable to the zig-zag shape shown on the 'gimlet' ligature on Meluhha standard (Mohenjo-dao seal m008). The zig-zag pattern shows the circular motion of the lathe --sangaḍa --Drawing showing three components of  Meluhha standard device: scepter, portable furnace, gimlet (lathe) juxtaposed to a standard in the Nahal Mishmar hoard of lost-wax castings. See, in particular, the three components of the Meluhha standard shown on Mohenjo-daro seal m008.

Mohenjo-daro seal m008 and variants of flagposts on Meluhha standard. (Note: Meluhha refers to mleccha vernacular language of the people of Indus-Sarasvati also called Harappa-Mohenjo-daro or Indus Valley Civilization Sets of Meluhha hieroglyphs refer to Indus script discussed in my book. Thus, Meluhha, mleccha vernacular of India is clearly attested in 4400 BCE at Nahal Mishmar.)

Executive Summary

This monograph suggests that the Nahal Mishmar standard is comparable to the Meluhha standard which carried hieroglyphs in a trade-guild procession. This complements the following blogpost: http://bharatkalyan97.blogspot.in/2014/01/meluhha-dhokra-art-from-5th-millennium.html   

Meluhha dhokra art from 5th millennium BCE at Nahal (Nachal) Mishmar, transiting into Bronze Age http://bharatkalyan97.blogspot.in/2014/01/meluhha-metallurgical-roots-and-spread.html 

Meluhha: spread of lost-wax casting in the Fertile Crescent. Smithy is the temple. Veneration of ancestors.

This blogpost compared Nahal Mishmar hoard with Meluhha artifacts, and in particular two Meluhha seals with inscriptions from Dholavira and Mohenjo-daro demonstrating the dhokra was a Meluhha word for cire perdue (lost-wax) casting method evidenced by Nahal Mishmar copper hoard and that dhokra metal casting is practiced even today in many parts of India

The hieroglyphs carried on the Meluhha standard represented the tools-of-trade and denoted professional competence of the Meluhha lapidary-smithy artisans as the artisans transited from the chalcolithic to true bronze-age with competence in creating metal alloys and cast objects using the lost-wax casting method as demonstrated by the over 429 copper alloy objects discovered in Nahal Mishmar (ca. 4400 BCE).

The shape of this standard compares with the standard which holds the 'standard device' often shown in front of one-horned young bull on many Meluhha (Indus script) inscriptions. 

The Meluhha standard holds two devices on top: 1. bowl-shaped crucible or portable furnace; 2. gimlet (lathe) There are two Mohenjo-daro tablets which show the Meluhha standared carried by a standard-bearer in a procession with three other standard-bearers bearing the standards of 'one-horned young bull', 'scarf', 'spoked nave of wheel'. 

The argument in the context of Indus writing is that these are Meluhha hieroglyphs read rebus . The readings are: sangad, 'lathe, portable furnace' rebus: 'entrustment articles of guild'; konda 'young bull' rebus: konda 'turner'; dhatu 'scarf' rebus: dhatu 'ore'; eraka 'nave of wheel'; ara 'spoke of wheel' rebus: eraka 'copper casting' ara 'brass (alloy)'.

Title of artifact: Procession with gods, musicians, animals and snake-god Marduk, 12th cent. b.C., from Susa (Sometimes also referred to as 'unfinished kudurru'). Location: Louvre

• 
  
• Unfinished" Kudurru
  Kassite period, attributed to the reign of Melishipak (1186-1172 BC)
  Susa (where it had been taken as war booty in the 12th century BC)
• Limestone J. de Morgan excavations Sb 25
• “The royal art of the Middle-Elamite period
  
  “Shilhak-Inshushinak was one of the most brilliant sovereigns of the dynasty founded by Shutruk-Nahhunte in the early 12th century BC. Numerous foundation bricks attest to his policy of construction. He built many monuments in honor of the great god of Susa, Inshushinak. The artists of Susa in the Middle-Elamite period were particularly skilled in making large bronze pieces. Other than the Sit Shamshi, which illustrates the complex technique of casting separate elements joined together with rivets, the excavations at Susa have produced one of the largest bronze statues of Antiquity: dating from the 14th century BC, the effigy of "Napirasu, wife of Untash-Napirisha," the head of which is missing, is 1.29 m high and weighs 1,750 kg. It was made using the solid-core casting method. Other bronze monuments underscore the mastery of the Susa metallurgists: for example, an altar table surrounded by snakes borne by divinities holding vases with gushing waters, and a relief depicting a procession of warriors set above a panel decorated with engravings of birds pecking under trees. These works, today mutilated, are technical feats. They prove, in their use of large quantities of metal, that the Susians had access to the principal copper mines situated in Oman and eastern Anatolia. This shows that Susa was located at the heart of a network of circulating goods and long-distance exchange.”[i]
  
  
  
  
  

  ---

  
  
  

  [i]http://www.louvre.fr/media/repository/ressources/sources/illustration/atlas/image_66481_v2_m56577569830704548.jpg
• Beneath the rings of the serpent that lies coiled around the top of the kudurru, the principal deities of the pantheon are represented in symbolic form. Below them is a cortege of animals and deities playing musical instruments. Walls and crenellated towers surround a space left blank for an inscription that was never carved. A horned serpent, symbol of the god Marduk, is coiled round the base.

An anepigraphic kudurru

• This kudurru is one of a number of Mesopotamian works found in Susa. They were brought there by the Elamite king Shutruk-Nahhunte (late 12th century BC) as part of the spoils of his victorious campaigns in Mesopotamia. Kudurrus are characteristic of the Kassite Dynasty. They are decorated with bas-relief carvings, generally consisting of divine symbols and a text recording the details of royal gifts of land or privileges granted by the king to high-ranking dignitaries or members of his family. In this case, the decoration is divided into three registers, delineated at the top and base by two huge horned serpents. The lower register, where the text was to have been carved, is empty, although the surface was carefully prepared to receive the inscription: there are four polished zones demarcated by walls. Two of these zones are carved with horizontal lines ready for the cuneiform script.

Divine symbols

• The word 'kudurru' is an Akkadian term meaning a boundary stone. However, contrary to what this name suggests, kudurrus were in fact stored in temples. Although they were primarily legal documents, their iconography provides a precious record of the religious life of the rulers who commissioned them. The upper register depicts the symbols associated with the principal deities of the Mesopotamian pantheon. Their order reflects the accepted hierarchy of the gods. The first triad consists of the three great deities: Anu, the sky god; Enlil, the earth god; and Ea, the god of Apsu, the body of fresh water on which the earth was believed to float. The second level represented the astral deities: Sin, the moon god, and his two children Shamash, the sun god, and Ishtar, the planet Venus. Immediately below them are the deities most in favor in the 2nd millennium BC. Marduk and his animal attribute - a horned dragon named Mushussu - are given pride of place, reflecting the theological desire to establish a universal god for Babylon, the capital of Mesopotamia. The iconographic style of this stele is very close to that of the kudurrus dating from the reign of King Melishihu (1186-1172 BC). This kudurru can thus be dated to the same period.

An unusual procession

• While it was usual for kudurrus to be carved with a succession of divine symbols, in this case the carvings on the middle register are most unusual. They depict a procession of eight figures, all carrying bows and wearing the horned crowns that mark them out as gods. Seven of the figures are bearded gods, playing the lute and accompanied by animals. A goddess playing the tambourine and possibly dancing follows them. Although such friezes were very popular during the Kassite period, this composition is remarkable, even unique, in that it is most unusual to find two separate representations of the gods - one symbolic, one anthropomorphic - on the same monument. The ruler who commissioned the kudurru must have had a particular reason for including the procession as well as the more conventional symbolic representation. Unfortunately, this reason remains a mystery. The procession may refer to a ritual involving the minor deities, probably the protectors of animals. The figures may also possibly be foreign deities. Whatever the truth of the matter, the long lock of hair hanging from their headdress indicates that they are marginal figures in the classical pantheon.

Bibliography

• L'empire du temps : mythes et créations, catalogue d'exposition du musée du Louvre, Éditions de la Réunion des musées nationaux, 2000, p. 44, cat. n 14.
  La cité royale de Suse : découvertes archéologiques en Iran conservées au musée du Louvre, catalogue d'exposition, Éditions de la Réunion des musées nationaux, 1994, pp. 178-180, fig. 116.
  Louvre, antiquités orientales : guide du visiteur, Éditions de la Réunion des musées nationaux, 1997.

• Statuette of a god wearing a coiled serpent and mounted on a chariot
  End of the Sukkalmah period, 16th-15th century BC
  Susa
• Copper
• J. de Morgan excavations
  Sb 2824

This god riding a chariot has the ears of a bull and a long beard edged with twisted locks, which enables us to identify him as Nergal, the Mesopotamian god of the devastating summer sun, sometimes associated with the Underworld. He is depicted here in a procession. His tiara headdress is crowned with a snake, a benevolent animal in Elamite mythology. This objects reflects the great skill of the Iranian metallurgists. It is part of a group of twenty-six objects found at the Susa acropolis.

A god with bull's ears

Sitting astride his chariot, the god is dressed in a kaunakes, a ruffled cloak in the Mesopotamian style. This garment was traditionally attributed to divine figures, while human beings customarily wore thin, draped fabrics. The figure is of human appearance but has the ears of a bull. This detail, along with the long beard divided into two separate parts edged with twisted locks, are the characteristics of the Mesopotamian death-god, Nergal, widely represented in Elam. This god of sickness and death was often portrayed in the form of terra-cotta figurines in Babylonia in the early 2nd millennium. However, none have been found at Susa. Holding a branch, the god is here shown in a procession, on the occasion of a religious feast of a visit to a deceased person. Texts attest to a funerary prayer that was addressed to a chariot-borne protector-god.

The snake, symbol of the forces of the underworld

The figure's tiara headdress is in the shape of a conical skull cap, formed in fact by a coiled snake whose head, facing right, is visible at the top. The presence of the snake places this figurine among the various images of the Elamite "snake god." This reptile, seen as a benevolent animal symbolizing the chthonic world and forces of the underworld, is a common motif in the art of ancient Iran. In the 2nd millennium, it was particulary associated with a god of uncertain identity known as the "god with snake and gushing water." Often shown coiled up, the snake was depicted with the god in various ways, notably on the latter's throne or headdress. Over time, its appearance evolved into that of a mythological creature, first a snake with a human head, later a dragon-snake.

A marked taste for metallurgy

The Susians were excellent metallurgists. This statuette is part of a series of twenty-six items found on the acropolis at Susa in 1904 near the temple of Inshushinak. Today, all are kept in the Louvre Museum. Some were plated with gold, like the figurine of the god with the golden hand (sb2823). The god and the chariot were each made in one casting, using the solid casting method. The metal of the chariot is more heterogeneous, however.

Bibliography

Borne interactive du département des Antiquités orientales.
Miroschedji Pierre de, "Le dieu élamite au serpent", in Iranica antiqua, vol. 16, 1981, Gand, ministère de l'Éducation et de la Culture, 1989, p. 20, pl. IV, fig. 1.
Tallon Françoise, "Un aspect de la métallurgie du cuivre à Suse. La petite statuaire au IIe millénaire", in Iranica Antiqua, vol. 24, 1989, Gand, ministère de l'Éducation et de la Culture, 1989, p. 123, pl. I, fig. 2.

 
The Susa panels show the standard bearers ligatured to the buttock of a bovine. This characteristic ligaturing style showing bovine features such as hindlegs of bovine, or bovine horns or tails, is also seen on Meluhha artifacts (seals and tablets).

Mohenjo-daro tablets. Standing person with horns and bovine features (hoofed legs and/or tail).

Pict-87 Standing person with horns and bovine features (hoofed legs and/or tail).

 Harappa tablets. Pict-85, Pict-86 Standing person with horns and bovine features (hoofed legs and/or tail).

Pict-90: Standing person with horns and bovine features holding a staff or mace on his shoulder.

Mohenodaro seal. Pict-103 Horned (female with breasts hanging down?) person with a tail and bovine legs standing near a tree fisting a horned tiger rearing on its hindlegs. 

These Susa panels of molded bricks were used to decorate the facade of the exterior temple on the Susa hill. This monument, dedicated to royal worship under the Shutrukid dynasty, was commissioned by the kings of this dynasty. Begun by Kutir-Nahunte (c. 1710 BCE), the work was completed by Shilhak-Inshushinak. The panels feature alternating figures of bull-men protecting a palm tree and Lama goddesses, also considered as protective divinities.

• Panels of molded bricks
  Mid 12th century BC
  Apadana mound, Susa

• Baked clay
  H. 1.355 m; W. 0.375 m
• Excavations led by Roland de Mecquenem 1913¿21; panels sb19575¿19577 were restored thanks to the Philip Morris Jury Prize, 1991
  Sb 2732, Sb 2733, Sb 2734, Sb 2735, Sb 14390, Sb 14391, Sb 19575, Sb 19576, Sb 19577 

A temple in honor of the Elamite Shutrukid dynasty

The king Shilhak-Inshushinak rebuilt the two great temples at Susa. The high temple on the acropolis was dedicated to Inshushinak, the great god of the Susian Plain. The exterior sanctuary, built on the Apadana mound, where Darius was to build his palace six centuries later, was primarily used for the royal worship of the Shutrukid dynasty, to which this king belonged. These panels of molded bricks were used to decorate the facade of the monument. Inscriptions half-way up the panels describe the circumstances of its construction. Kutir-Nahunte, brother of Shilhak-Inshushinak, ordered the erection of the building and its decoration with molded bricks, but died before seeing the project through. Shilhak-Inshushinak resumed and completed the work.

Goddesses and mythological creatures, protectors of nature and men

On the panels, the figure of a bull-man protecting a palm tree alternates with a Lama goddess. The bull-man, traditional guardian of temple gates, represented a combination of human genius and the strength and power of the bull. The bull-man is here shown wearing a tiara with several tiers of horns, a divine attribute. In Mesopotamian mythology, this figure is the acolyte of the sun-god Shamash. Pictured with a stylized palm tree, he evokes the crucial role of the sun in plant life. The date palm was a key element in Mesopotamian mythology, a major source of inspiration in Iranian thought. The date palm symbolized plant life as a whole: in a landscape of plains, where agricultural income was of the utmost importance, plant life was at the center of human concerns. The tree's thin palms suggest the rays of the sun that warm them. The Lama goddess, also considered a protective divinity, guarded the effigies of the royal family. The goddess is shown with arms raised in the traditional gesture of blessing. Thus, worshippers were welcomed by reassuring figures who ensured the serenity of the divine dwelling and the dynastic chapel.

The Mesopotamian influence

The terra-cotta bricks were molded. This type of architectural decoration had already been used in Mesopotamia, at Uruk, in the Kassite period, on the facade of the temple dedicated to the goddess Inanna. The method of production of these decorative elements and the figures represented on them show the strong influence of the Mesopotamian culture on the neighboring region of Elam. Several pictorial details are Iranian, however, such as the two lines marking the knees of the bull-men and the inscriptions in Elamite script.

Bibliography

Amiet Pierre, Élam, Auvers-sur-Oise, Archée éditeur, 1966, p. 390, fig. 296 et 299.
Amiet Pierre, Suse : 6 000 ans d’histoire, Paris, Éditions de la Réunion des musées nationaux, coll. « Monographies des musées de France », 1988, pp. 98-99, fig. 57.
Benoit Agnès, Art et archéologie : les civilisations du Proche-Orient ancien, Paris, Éditions de la Réunion des musées nationaux, coll. « Manuels de l’École du Louvre », 2003, pp. 360-361, fig. 181.
Borne interactive du département des Antiquités orientales.

• http://www.louvre.fr/en/oeuvre-notices/panels-molded-bricks

See: http://bharatkalyan97.blogspot.in/2013/06/asur-metallurgists.html Ancient Near East: Traditions of smelters, metallurgists validate the Bronze Age Linguistic Doctrine.

The doctrine notes that the Meluhha vernacular of the bronze age artisans can be found in the languages of Indian sprachbund (linguistic area

S. Kalyanarman Sarasvati Research Center April 1, 2016

kāraṇī 'helmsman, scribe, supercargo' of Indus Script~~Kernunno of Pilier des Nautes

April 2, 2016, 3:47 am

≫ Next: Prima donna SoniaG Agusta scam:Parrikar to place detailed chronology w/ docs on May 4. Corrupt to march on May 6. NaMo,nationalise kaalaadhan.

≪ Previous: Je tiens mon affaire! Tvaṣṭr̥ Dhokra kolhe sippi. Indus Script visible language.

$

0

0

Mirror: http://tinyurl.com/gw2cdxz 

Indus Script Corpora hieroglyphs link to 1) Pillar of Boatmen, 2) Cernunnos, smith-boatman on Gundestrup cauldron and 3) Kirkburn triskele hieroglyph http://bharatkalyan97.blogspot.in/2015/09/indus-script-corpora-hieroglyphs-link.html

http://bharatkalyan97.blogspot.in/2015/12/kamadha-penance-indus-script-hieroglyph.html kamaḍha 'penance', an Indus Script hieroglyph on 16 Ancient Near East inscriptions signifies kammaṭa 'mint, coiner'

Did Indians migrate to Europe as early as 3300 BC?http://bharatkalyan97.blogspot.in/2016/01/did-indians-migrate-to-europe-as-early.html

Celtic-Meluhha contacts during early Bronze Age: somehypotheses

  https://www.academia.edu/10032403/Celtic-Meluhha_contacts_during_early_Bronze_Age_some_hypotheses

Bronze Age revolution from 5th to 2nd millennium BCE andhttp://bharatkalyan97.blogspot.in/2015/09/bronze-age-revolution-from-5th-to-2nd.html

Horned person in penance and “temple,” Harappa (H95-2487/4466-01) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan)..

Art historians' dilemma and Occam's razor : not to treat Indus Script, Luristan bronze hieroglyphs as divine mastery over animals

  http://bharatkalyan97.blogspot.in/2015/10/art-historians-dilemma-and-occams-razor.html
Vis'vakarma.http://bharatkalyan97.blogspot.in/2015/09/tvastra-artisans-divinity-of-fire.html

Kernunno or Cernunnos sculpted on the Pillar of Boatmen or Pilier des Nautes -- ca.1 BCE.by nautae Parisiaci -- at the Musée Carnavalet is composed of Indus Script hieroglyph components: horns of antelope (markhor), torcs, seated person in penance, surrounded by other metalwork hieroglyphs.

Discovered under the Cathedral Notre-Dame De Paris, the pillar is an offering of the boatmen of the Seine (the nautes) to the Roman Emperor Tiberius who ruled the Gaul (Roman Province).

The pillar was originally in a temple in the Gallo-Roman civitas of Lutetia (modern Paris, France).

Source: https://www.facebook.com/permalink.php?story_fbid=991453917560262&id=471707109534948

Cernunnos is attested on Pilier des Nautes (Koch, John, ed. (2006). Celtic Culture: A Historical Encyclopedia. ABC-Clio. p. 396). Divinities and soldiers depicted on the Pillar of Boatmen carry metallic weapons, consistent with the Indus Script Corpora deciphered as metalwork catalogues of seafaring Meluhha merchants. The Pillar of Boatmen dedicated by the Guild of Sailors of Lutetia, from the civitas of the Parisii (nautae Parisiaci) AND hieroglyphs of Gundestrup Cauldron are traceable to this tradition of Indus Script Cipher with Prakrtam metalwork lexis providing rebus renderings of hieroglyphs. 

This inference is consistent with the deciherment of the Pasupati seal of Mohenjo-daro which has been compared with the Cernunnos and other hieroglyphs of Gundestrup Cauldron. (https://en.wikipedia.org/wiki/Gundestrup_cauldron).

Kernunno or Cernunnos is cognate with करण ‘writer’ and karṇadhāra m. ʻhelmsmanʼ Suśr.(Samsktam)

करण m. writer , scribe W. m. a man of a mixed class (the son of an outcast क्षत्रिय Mn. x , 22 ; or the son of a शूद्र woman by a वैश्य Ya1jn5. i , 92; or the son of a वैश्य woman by a क्षत्रिय MBh. i , 2446 ; 4521 ; the occupation of this class is writing , accounts &c ) (Samskrtam) कारणी or कारणीक [ kāraṇī or kāraṇīka ] a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship &c. (Marathi)  [kárṇa -- , dhāra -- 1] Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman (CDIAL 2836) 

Furniture, goods and chattels, articles of various kinds; வீட்டுச்சாமான்கள். 

தட்டுமுட்டு விற்று மாற்றாது (பணவிடு. 225). 2. Apparatus, tools, instruments, utensils; கருவி கள். 3. Luggage, baggage; மூட்டைகள். (W.)Ta. taṭṭumuṭṭu furniture, goods and chattels, utensils, luggage. Ma. taṭṭumuṭṭu kitchen utensils, household stuff. Tu. taṭṭimuṭṭu id.(DEDR 3041)

The Horned Divinity is sometimes specifically referred to as Cernunnos, or sometimes also as Kernunno (The Rebirth of Witchcraft, Doreen Valiente, page 52-53). 

I suggest that the root of this word is traceable to Indus Script tradition 

(Mohenjo-daro seal m304):

Ta. tuttā̆ri a kind of bugle-horn. Ma. tuttāri horn, trumpet. Ka. tutūri, tuttāri, tuttūri a long trumpet. Tu. tuttāri, tuttūri trumpet, horn, pipe. Te. tutārā a kind of trumpet. / Cf. Mar. tutārī a wind instrument, a sort of horn. (DEDR 3316)Rebus: తుత్తము [ tuttamu ] or తుత్తరము tuttamu. [Tel.] n. sulphate of zinc. మైలతుత్తము sulphate of copper, blue-stone.తుత్తినాగము [ tuttināgamu ] tutti-nāgamu. [Chinese.] n. Pewter. Zinc. లోహవిశేషము (Telugu)

Hieroglyph: chain, necklace, anklet: śã̄gal, śã̄gaḍ ʻchainʼ (WPah.) śr̥ṅkhala m.n. ʻ chain ʼ MārkP., °lā -- f. VarBr̥S., śr̥ṅkhalaka -- m. ʻ chain ʼ MW., ʻ chained camel ʼ Pāṇ. [Similar ending in mḗkhalā -- ]Pa. saṅkhalā -- , °likā -- f. ʻ chain ʼ; Pk. saṁkala -- m.n., °lā -- , °lī -- , °liā -- , saṁkhalā -- , siṁkh°, siṁkalā -- f. ʻ chain ʼ, siṁkhala -- n. ʻ anklet ʼ; Sh. šăṅāli̯ f., (Lor.)š*lṅāli, šiṅ° ʻ chain ʼ (lw .with š -- < śr̥ -- ), K. hö̃kal f.; S. saṅgharu m. ʻ bell round animal's neck ʼ, °ra f. ʻ chain, necklace ʼ, saṅghāra f. ʻ chain, string of beads ʼ,saṅghirī f. ʻ necklace with double row of beads ʼ; L. saṅglī f. ʻ flock of bustard ʼ, awāṇ. saṅgul ʻ chain ʼ; P. saṅgal m. ʻ chain ʼ, ludh. suṅgal m.; WPah.bhal. śaṅgul m. ʻ chain with which a soothsayer strikes himself ʼ, śaṅgli f. ʻ chain ʼ, śiṅkhal f. ʻ railing round a cow -- stall ʼ, (Joshi) śã̄gaḷ ʻ door -- chain ʼ, jaun. śã̄gal, śã̄gaḍ ʻ chain ʼ; Ku. sã̄glo ʻ doorchain ʼ, gng. śāṅaw ʻ chain ʼ; N. sāṅlo ʻ chain ʼ, °li ʻ small do. ʼ, A. xikali, OB. siṅkala, B. sikal, sikli, chikal, chikli, (Chittagong) hĩol ODBL 454, Or.sāṅk(h)uḷā, °ḷi, sāṅkoḷi, sikaḷā̆, °ḷi, sikuḷā, °ḷi; Bi. sīkaṛ ʻ chains for pulling harrow ʼ, Mth. sī˜kaṛ; Bhoj. sī˜kar, sĩkarī ʻ chain ʼ, OH. sāṁkaḍa, sīkaḍa m., H. sã̄kal, sã̄kar,°krī, saṅkal, °klī, sikal, sīkar, °krī f.; OG. sāṁkalu n., G. sã̄kaḷ, °kḷī f. ʻ chain ʼ, sã̄kḷũ n. ʻ wristlet ʼ; M. sã̄k(h)aḷ, sāk(h)aḷ, sã̄k(h)ḷī f. ʻ chain ʼ, Ko. sāṁkaḷ; Si. säkilla, hä°, ä° (st. °ili -- ) ʻ elephant chain ʼ.śr̥ṅkhalayati.Addenda: śr̥ṅkhala -- : WPah.kṭg. (kc.) śáṅgəḷ f. (obl. -- i) ʻ chain ʼ, J. śã̄gaḷ f., Garh. sã̄gaḷ.śr̥ṅkhalayati ʻ enchains ʼ Daś. [śr̥ṅkhala -- ]

Ku.gng. śāṅaī ʻ intertwining of legs in wrestling ʼ (< śr̥ṅkhalita -- ); Or. sāṅkuḷibā ʻ to enchain ʼ.(CDIAL 12580, 12581)சங்கிலி¹ caṅkili, n. < šṛṅkhalaā. [M. caṅ- kala.] 1. Chain, link; தொடர். சங்கிலிபோ லீர்ப்புண்டு (சேதுபு. அகத். 12). 2. Land-measuring chain, Gunter's chain 22 yards long; அளவுச் சங்கிலி. (C. G.) 3. A superficial measure of dry land=3.64 acres; ஓர் நிலவளவு. (G. Tn. D. I, 239). 4. A chain-ornament of gold, inset with diamonds; வயிரச்சங்கிலி என்னும் அணி. சங்கிலி நுண்டொடர் (சிலப். 6, 99). 5. Hand-cuffs, fetters; விலங்கு.

Rebus: Vajra Sanghāta 'binding together': Mixture of 8 lead, 2 bell-metal, 1 iron rust constitute adamantine glue. (Allograph) Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati)

Hieroglyph: Torc: Rebus: quiver of arrows, ploughshare: kalāpa m. ʻ bundle, quiver of arrows ʼ MBh., ʻ rope round an elephant's neck ʼ lex., °aka -- m. MBh. 2. kalamba -- 3 n. ʻ crowd ʼ lex. [Cf. *kaḍappa -- which supports deriv. from Drav. (Kan. kalappu ʻ miscellaneous collection ʼ &c. T.Burrow BSOAS xii 371)]1. Pa. kalāpa -- m. ʻ bundle, sheaf, quiver ʼ, °aka -- m. ʻ bundle, string (of pearls) ʼ; Pk. kalāva -- m. ʻ collection, quiver, peacock's tail ʼ, °aga -- m. ʻ a neckornament ʼ; P. kalāvā, °vṛā m. ʻ armful, bundle ʼ; H. kalāwā m., ʻ band round an elephant's neck in which the driver places his feet ʼ (→ G. kilāvɔ m., M. kalāvā, kil°m.); OG. kalāu m. ʻ group, cluster ʼ; M. kaḷāvā, kaḷvā m. ʻ hobble (consisting of a rope tying two legs of the animal together) ʼ. -- Si. kalava ʻ thigh ʼ?2. Si. kalam̆ba ʻ bunch, cluster, bundle ʼ.Addenda: kalāpa -- : WPah.kṭg. kəḷai f. ʻ stick tied with ropes placed along the back of mules for carrying loads ʼ.(CDIAL 2931)

 Ta. kalappai plough, ploughshare. Ma. kalappa plough and what belongs to it. Ka. kalapu materials for a house, for a plough, etc. Te. kalapa materials for a plough, timber for buildings.(DEDR 1304)

Hieroglyph: stag's horns: miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) miṇḍāl 'markhor' (Tor.wali) meḍho 'a ram, a sheep' (G.)(CDIAL 10120)mēṇḍhaʻramʼ(CDIAL 9606).मेंढा [mēṇḍhā] m (मेष S through H) A male sheep, a ram or tup. मेंढका or क्या [ mēṇḍhakā or kyā ] a (मेंढा) A shepherd (Marathi) Rebus: meḍ 'iron' (Ho.) mēṇḍh 'gold' as in: मेंढसर [ mēṇḍhasara ] m A bracelet of gold thread. (Marathi)

tAttAru 'buffalo horn'(Mu.) Rebus: ThaThero ‘brass worker’(Ku.) (L) {N} ``^buffalo horn''. #64001.(S) {N} ``long ^horn, kind of ^conch''. #64010. So(L){N} ``^buffalo horn''.Ta.tu tt&ab revmacr;ri a kind of bugle-horn. Rebus: silversmith: Rebus: N. ṭhaṭāunu ʻ to strike, beat ʼ, ṭhaṭāi ʻ striking ʼ, ṭhaṭāk -- ṭhuṭuk ʻ noise of beating ʼ; H. ṭhaṭhānā ʻ to beat ʼ, ṭhaṭhāī f. ʻ noise of beating ʼ.(CDIAL 5490). *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- . [*ṭhaṭṭha -- 1, kāra -- 1]1. Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H. ṭhaṭherā m.(CDIAL 5493).Ta. taṭṭu (taṭṭi-) to knock, tap, pat, strike against, dash against, strike, beat, hammer, thresh; n. knocking, patting, breaking, striking against, collision; taṭṭam clapping of the hands; taṭṭal knocking, striking, clapping, tapping, beating time; taṭṭāṉ gold or silver smith; fem. taṭṭātti. Ma. taṭṭu a blow, knock; taṭṭuka to tap, dash, hit, strike against, knock; taṭṭān goldsmith; fem. taṭṭātti; taṭṭāran washerman; taṭṭikka to cause to hit; taṭṭippu beating. Ko. taṭ- (tac-) to pat, strike, kill, (curse) affects, sharpen, disregard (words); taṭ a·ṛ- (a·c) to stagger from fatigue. To. toṭ a slap; toṭ- (toṭy-) to strike (with hammer), pat, (sin) strikes; toṛ- (toṭ-) to bump foot; toṭxn, toṭxïn goldsmith; fem. toṭty, toṭxity; toṭk ïn- (ïḏ-) to be tired, exhausted. Ka. taṭṭu to tap, touch, come close, pat, strike, beat, clap, slap, knock, clap on a thing (as cowdung on a wall), drive, beat off or back, remove; n. slap or pat, blow, blow or knock of disease, danger, death, fatigue, exhaustion. Koḍ. taṭṭ- (taṭṭi-) to touch, pat, ward off, strike off, (curse) effects; taṭṭë goldsmith; fem. taṭṭati (Shanmugam). Tu. taṭṭāvuni to cause to hit, strike. Te. taṭṭu to strike, beat, knock, pat, clap, slap; n. stripe, welt; taṭravã̄ḍu goldsmith or silversmith. Kur. taṛnā (taṛcas) to flog, lash, whip. Malt. taṛce to slap.(DEDR 3039).

tatara 'smelter' (Japanese)  <  ṭhaṭṭhāra 'brass worker' (Prakritam) (< is indicated as a possibile transfer mode in language contacts for metalwork technical gloss.)

"The tatara (鑪^?) is the traditional Japanese furnace used for smelting iron and steel. The word later also came to mean the entire building housing the furnace...tatara is foreign to Japan, originating in India or Central Asia...Tokutaro Yasuda suggests that the word may be from the Sanskrit word taatara, meaning "heat," noting that the Sanskrit word for steel is sekeraa, which is very similar to the word used in Japan for the steel bloom which the tatara produces..."

*ṭhaṭṭha ʻ brass ʼ. [Onom. from noise of hammering brass? -- N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- 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) Tatta1 [pp. of tapati] heated, hot, glowing; of metals: in a melted state (cp. uttatta) Aii.122≈(tattena talena osiñcante, as punishment); Dh 308 (ayoguḷa); J ii.352 (id.); iv.306 (tattatapo "of red -- hot heat," i. e. in severe self -- torture); Miln 26, 45 (adv. red -- hot); PvA 221 (tatta -- lohasecanaŋ the pouring over of glowing copper, one of the punishments in Niraya).(Pali)

Indus Script evidence Pasupati seal deciphered. Bronze-age metalwork technology transfers from ancient India to Japan & Slovakia reinforced by Japanese and Slavic words.A remarkable lead in the inscription on the Pillar of Boatmen comes from the expression: Senan[t] U[s]e[t]lo[n]i in reference to three young men with shields and spears; a group of three older, bearded men with spears and shields, bearing the inscription Eurises; and a group of three figures, at least one of which is female. They are unarmed, dressed in flowing gowns. 

The guild of sailors who donated the Pillar are paying a tribute to the traditions of ancient metalworkers.

Eurises: (Dedicants/donateurs): Terme inscrit sur le pilier des Nautes de Paris, au dessus de la representation de trois personages barbus et armes. P.Y. Lambert, y voit comme un derive de ieuru avec transformation du IE initial en E. Le term ieuru significant “a offert, a donne’, eurises aurait pour signification ‘donateurs, dedicants’ (PY Lambert, La langue gauloise, Errance, Paris, 2003) Sources: X. Delamarre, Dictionnaire de la langue gauloise, Errance, Paris, 2003; PY Lambert, La Langue gauloise, Errance, Paris, 2003; Pierre Crombet pour ‘lArbre Celtique).

The warriors are seafaring merchants belonging to a guild workshop of armourers or mint/smithy/forge.

Musee de Cluny - Musee National du Moyen Age

God of Etang-sur-Arroux, a possible depiction of Cernunnos. He wears a torc at the neck and on the chest. Two snakes with ram heads encircle him at the waist. Two cavities at the top of his head are probably designed to receive deer antlers. Two small human faces at the back of his head indicate that he is tricephalic. Musée d'Archéologie Nationale.

See: http://bharatkalyan97.blogspot.in/2015/08/indus-script-evidence-pasupati-seal.html 

Engraving of the elements found during the diggings, Histoire de Paris, tome 1, Michel Félibien - Publié dans Notre-Dame de Paris, par Alain Erlande-Brandenbourg, Paris, éditions La Martinière 1997 - ISBN : 2-7324-2392-0 - Photo de cette reproduction par Siren-Com.Éléments découverts au cours de fouilles en 1711 constituant Le Pilier des Nautes, vestiges d'un temple pré-chrétien (Ier siècle ap.JC) sur l'île de la Cité à l'emplacement du chœur de ND de Paris. Gravure extraite de L'Histoire de Paris tome 1, Michel Félibien (1666 ? - 1719).

C1750 Antique Print Pillar of The Boatmen Images Simonneau Plate A

Kernunno signified on the pillar is traceable to the tradition of a metalsmih shown on Mohenjo-daro seal m0304.

Decipherment of Mohenjo-daro seal m0304 (seated, horned person surrounded by animal glyphs)

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). Comparble to m0304 showing a seated person in penance, is a seal showing a scarfed person in penance:

Mohenjo-daro seal m 305 (DK 3884. 

He also has scarf as a pigtail, is horned with two stars shown within the horn-curves.

kuThi 'twig' Rebus: kuThi 'smelter' karA 'arm with bangles' Rebus: khAr 'blacksmith' dhatu 'scarf' Rebus: dhatu 'mineral'; taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker' meDhA 'polar star' Rebus: meD 'iron' (Mu.Ho.) gaNda 'four' Rebus: khaNDa 'metal imlements' aya 'fish' Rebus: aya 'iron' ayas 'metal' (Rigveda) See: http://tinyurl.com/ozyobnc

kamaḍha 'penance' (Pkt.) Rebus: kampaṭṭam ‘mint’ (Ta.) Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali)

ḍato = claws of crab (Santali); dhātu = mineral (Skt.), dhatu id. (Santali) 

kūdī, kūṭī bunch of twigs (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 'smelting furnace‘ (Santali) koṭe ‘forged (metal) (Santali)

mēḍha The polar star. (Marathi) Rebus: meḍ ‘iron’ (Ho.)

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)

Thus, the entire glyphic composition of the seated, horned person is decoded rebus: meḍ dhatu kampaṭṭa ḍab kuṭhi kaṇḍ iron, mineral, mint (copper casting, forging workshop)furnace.

The text of the inscription shows two types of 'fish' glyphs: one fish + fish with scaled circumscribed by four short-strokes: aya 'fish' (Mu.); rebus: aya 'metal' (Samskritam)

gaṇḍa set of four (Santali) kaṇḍa ‘fire-altar’ cf. ayaskāṇḍa a quantity of iron, excellent iron (Pāṇ.gaṇ) The reading is consistent with the entire glyphic composition related to the mineral, mint forge.

Another comparable glyphic composition is provided by seal m1181.

m1181. Seal. Mohenjo-daro. Three-faced, horned person (with a three-leaved pipal branch on the crown), wearing bangles and armlets and seated on a hoofed platform.

m1181 Text of inscription.

Each glyphic element on this composition and text of inscription is decoded rebus:

Two glyphs 'cross-road' glyph + 'splice' glyph -- which start from right the inscription of Text on Seal m1181.The pair of glyphs on the inscription is decoded: dhatu adaru bāṭa 'furnace (for) mineral, native metal’. dāṭu 'cross'(Telugu); bāṭa 'road' (Telugu). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada. Siddha_nti Subrahman.ya’ S’astri’s new interpretation of the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330)

Other glyphic elements: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'.

*the person is seated on a hoofed platform (representing a bull): decoding of glyphics read rebus: ḍangar ‘bull’; ḍhangar ‘blacksmith’ (H.); koṇḍo ‘stool’; rebus: koḍ ‘workshop’. The glyphics show that the seal relates to a blacksmith's workshop.

*the seated person's hair-dress includes a horned twig. aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali)

*tiger's mane on face: The face is depicted with bristles of hair, representing a tiger’s mane. cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883)Rebus: cuḷḷai = potter’s kiln, furnace (Ta.); cūḷai furnace, kiln, funeral pile (Ta.); cuḷḷa potter’s furnace; cūḷa brick kiln (Ma.); cullī fireplace (Skt.); cullī, ullī id. (Pkt.)(CDIAL 4879; DEDR 2709). sulgao, salgao to light a fire; sen:gel, sokol fire (Santali.lex.) hollu, holu = fireplace (Kuwi); soḍu fireplace, stones set up as a fireplace (Mand.); ule furnace (Tu.)(DEDR 2857). 

*bangles on arms cūḍā ‘bracelets’ (H.); rebus: soḍu 'fireplace'. Vikalpa: sekeseke, sekseke covered, as the arms with ornaments; sekra those who work in brass and bell metal; sekra sakom a kind of armlet of bell metal (Santali) 

*fish + splinter glyph ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.)sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) Vikalpa: Glyph: ḍhāḷiyum = adj. sloping, inclining; rebus: ḍhāḷako = a large metal ingot (G.) H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). Thus, the ligatured 'fish + sloping (stroke)' is read rebus: metal ingot.

•dāṭu = cross (Te.); dhatu = mineral (Santali) dhātu ‘mineral (Pali) dhātu ‘mineral’ (Vedic); a mineral, metal (Santali); dhāta id. (G.)H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). aṭar a splinter; aṭaruka to burst, crack, slit off, fly open; aṭarcca splitting, a crack; aṭarttuka to split, tear off, open (an oyster)(Ma.); aḍaruni to crack (Tu.)(DEDR 66). dāravum = to tear, to break (G.) dar = a fissure, a rent, a trench; darkao = to crack,to break; bhit darkaoena = the wall is cracked (Santali) Rebus: aduru 'native (unsmelted) metl' (Kannada).

Seated person in penance: kamaḍha ‘penance’ (Pkt.); rebus: kampaṭṭa ‘mint’(Ma.) Glyphics of shoggy, brisltles of hair on the face of the person: Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.) 

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

Playing the tutari, 'trumpet'.

Use of buffalo horns on a tiger-woman toy: kola 'woman' kola'tiger' Rebus: kol 'working in iron' kolhe 'smelters' kolle 'blacksmith' 

If the buffalo horns were attached, the hieroglyphs would have been pronounced in Meluhha speech as taTThAr, 'buffalo horn' Rebus: taTTAr 'goldsmith guild'; ṭhaṭherā 'brass worker' (Punjabi)

 Slide72. "Two composite anthropomorphic / animal figurines from Harappa. Whether or not the attachable water buffalo horns were used in magic or other rituals, unusual and composite animals and anthropomorphic/animal beings were clearly a part of Indus ideology. The ubiquitous "unicorn" (most commonly found on seals, but also represented in figurines), composite animals and animals with multiple heads, and composite anthropomorphic/animal figurines such as the seated quadruped figurines with female faces, headdresses and tails offer tantalizing glimpses into a rich ideology, one that may have been steeped in mythology, magic, and/or ritual transformation." 

Approximate dimensions (W x H(L) x D) of the larger figurine: 3.5 x 7.1 x 4.8 cm. (Photograph by Richard H. Meadow)

meď 'copper' (Slovak)

Santali glosses:

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)

http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda

— 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]

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

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’.

Cernunnos is also Hern the Hunter (Celtic polytheism between ca. 500BCE to 500 CE). Notre Dame de Paris was used as a burial gound for its bishops, arch-bishops and priests. The Pillar of Boatmen was discovered during medieval burials: ‘nine cubic stones, with on each of their vertical sides a different relief accompanied with an inscription.’

Similar replica of the ancient Roman gods pillar was found in Nijmegen, Netherlands,  a municipality and a city in the Dutch province of Gelderland. It is situated on the Waal river, close to the German border.

Nijmegen

This photo of Nijmegen is courtesy of TripAdvisor

This photo of Nijmegen is courtesy of TripAdvisor

About 40 attested Cernunnos divinity have been found in Celtic tradition. (Green, Miranda, Celtic Art, Reading the Messages, p. 147, 1996, The Everyman Art Library).

The name has been compared to a divine epithet Carnonos in a Celtic inscription written inGreek characters at Montagnac, Hérault (as καρνονου, karnonou, in the dative case). (Xavier Delamarre, Dictionnaire de la langue gauloise (Éditions Errance, 2003), pp. 106–107). A Gallo-Latin adjective carnuātus, "horned," is also found.(Equivalent to Latin cornutus, "horned"; Delamarre, citing J. Vendryes, Revue Celtique 42 (1925) 221–222.)

S. Kalyanaraman

Sarasvati Research Center

April 2, 2016

Metallurgy of Gundestrup Cauldron

[quote]The Gundestrup cauldron is composed almost entirely of silver, but there is also a substantial amount of gold for the gilding, tin for the solder and glass for the figures' eyes. According to experimental evidence, the materials for the vessel were not added at the same time, so the cauldron can be considered as the work of artisans over a span of several hundred years. The quality of the repairs to the cauldron, of which there are many, is inferior to the original craftsmanship.^{[1][2][4][5][6]}

Silver was not a common material in Celtic art, and certainly not on this scale. Except sometimes for small pieces of jewellery, gold or bronze were more usual for prestige metalwork.^[13] At the time that the Gundestrup cauldron was created, silver was obtained through cupellation of lead/silver ores.^[2] By comparing the concentration of lead isotopes with the silverwork of other cultures, it has been suggested that the silver came from multiple ore deposits, mostly from Celtic northern France and western Germany in the pre-Roman period. The lead isotope studies also indicate that the silver for manufacturing the plates was prepared by repeatedly melting ingots and/or scrap silver. Three to six distinct batches of recycled silver may have been used in making the vessel.^[1][2] Specifically, the circular "base plate" may have originated as a phalera, and it is commonly thought to have been positioned in the bottom of the bowl as a late addition, soldered in to repair a hole.^[5] By an alternative theory, this phalera was not initially part of the bowl, but instead formed part of the decorations of a wooden cover.^[5]

The gold can be sorted into two groups based on purity and separated by the concentration of silver and copper. The less puregilding, which is thicker, can be considered a later repair, as the thinner, purer inlay adheres better to the silver. The adherence of the overall gold is quite poor. The lack of mercury from the gold analysis suggests that a fire-gilding technique was not used on the Gundestrup cauldron. The gilding appears to have instead been made by mechanical means, which explains the function of closely spaced punch marks on the gilded areas.^[1][2]

An examination of lead isotopes similar to the one used on the silver was employed for the tin. All of the samples of tin soldering are consistent in lead-isotope composition with ingots from Cornwall in western Britain. The tin used for soldering the plates and bowl together, as well as the glass eyes, is very uniform in its high purity.^[1][2]

Finally, the glass inlays of the Gundestrup cauldron have been determined through the use of X-ray fluorescence radiation to be of a soda-lime type composition. The glass contained elements that can be attributed to calcareous sand and mineral soda, typical of the east coast of the Mediterranean region. The analyses also narrowed down the production time of the glass to between the second century BC and first century AD.^{[1][2] [unquote]}

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

This photo of Musee de Cluny - Musee National du Moyen Age is courtesy of TripAdvisor

Smertrios.

Layer 2: Cernunnos, Smertrios. Two torcs hang from Cernunnos' stag's antlers. Cross-legged seated position is assumed (based on other Cernunnos depictions). Smertrios brandishes a club, attacks a snake..

Esus cuts down a willow tree with an axe.

Tarvos Trigaranos, a heavy-set bull in front of a willow-tree. Two cranes stand on his back and a third on his head.

Volcanus holds hammer and tongs

Tarvos trigaranus and Vulcan (Volcanus)

Warriors

Three armed, bearded men, Eurises

Jove

Jupiter holds a spear and a thunderbolt

Mars with consort (Venus?) Mercurius with Rosmerta? "Mars, with spear and sword, is accompanied by a female deity with large round ear-rings and a flowing garment which is held over one arm. Mercury, identifiable by his caduceus, is depicted with a goddess who may be Rosmerta, his frequent companion in Gallic art. Fortuna is accompanied by another female deity, perhaps Juno. Two other unidentified female deities are on the fourth face, the one to the left is naked to the waist and holds a large cloak behind her with upraised arms; the other is clothed and has large round ear-rings." (Busson, Didier (1998). Carte archéologique de la Gaule: 75, Paris. Paris: Académie des Inscriptions et Belles-Lettres, p.447)

Castor with horse

 Castor and Pollus are shown standing beside their horses, each holding a spear (Busson, Didier (1998). Carte archéologique de la Gaule: 75, Paris. Paris: Académie des Inscriptions et Belles-Lettres. ISBN 2-87754-056-1. Entry on Notre-Dame, includes detailed photos and line drawings, plus a reconstruction of the block ordering, p.451).

Limestone pillar.  5.24m high, 0.91m wide at the base and 0.74m wide at the top (Saragoza, F.; Pariselle, C.; Meyohmas, M.-E. et al. (2003) "Le Pilier des nautes retrouvé". Archéologia 398, March 2003.)

Third tier has a dedicatory inscription. "The other sides show a group of three young men with shields and spears; a group of three older, bearded men with spears and shields, bearing the inscription Iurises; and a group of three figures, at least one of which is female. They are unarmed, dressed in flowing gowns, and have an inscription Senani U[s]eiloni."(Busson, Didier (1998). Carte archéologique de la Gaule: 75, Paris. Paris: Académie des Inscriptions et Belles-Lettres, p.448).

Inscription (Source: https://en.wikipedia.org/wiki/Pillar_of_the_Boatmen#CITEREFKoch2006)

Written in Latin with some Gaulish language features, the inscription mingles Roman deities with gods that are distinctly Gallic. The pillar is dated by a dedication to Tiberius Caesar Augustus, that is, Tiberius, who became emperor in 14 AD. It was set up publicly (publice posierunt)by the guild of sailors of Lutetia, from the civitas of the Parisii (nautae Parisiaci). These sailors would have been merchants who travelled along the Seine.

The main dedication is to Jupiter, in the form of Iovis Optimus Maximus ("Jove Best and Greatest"). The names of the emperor and the supreme deity appear in the dative case as the recipients of the dedication. The remaining theonyms are nominative legends that accompany individual depictions of the gods. These are (in the order they appear below) Jove, Tarvos Trigaranos (the Bull with three Cranes), Volcanus(Vulcan), Esus, Cernunnos, Castor, Smertrios, and Fortuna.

The dedication (CIL XIII, 3026; RIG L2-1) is as follows:

Tib(erio) Caesare /

Aug(usto) Ioui Optum[o] /

Maxsumo /

nautae Parisiaci /

publice posierunt //

Eurises // Senan[t] U[s]e[t]lo[n][-] //

Iouis // Taruos Trigaranus //

Volcanus // Esus //

[C]ernunnos // Castor // [---] //

Smer[---] //

Fort[una] // [--]TVS[--] // D[--]

Original location of the pillar: "The Gaulish town of Lutetia was built on the Île de la Cité, an island in the middle of the Seine; a good defensive position and well suited to controlling trade along the river (Carbonnières, Philippe (1997). Lutèce, Paris ville romaine. Paris: Gallimard/Paris-Musées.pp. 13–15, 35–40). It is mentioned by Julius Caesar in the Gallic Wars. The Gallo-Roman town extended onto the south bank of the river, but the island remained the heart of the city and it was here that the forum and several temples were built. The pillar was erected outside one of these temples...Some time in the 3rd century, the stone blocks that formed the pillar were broken into two and used to reinforce the foundations of the walls along the riverbank."

The pillar is dated to ca. 1 BCE, by a dedication to Jupiter (Optimus maximus: lJove Best and Greatest). Used in dative case, the names of the emperor Tiberius Caesar Augustus (Tiberius) 14 CE and Jupiter are recipients of the dedication. 1. Jove (Jupiter); 2. Tarvos Trigaranos (the Bull with three cranes); 3. Volcanus (Vulcan); 4. Esus; 5. Cernunnos; 6. Castor; 7. Smertrios; 8. Fortuna. The dedication to Tiberius indicates that the pillar was erected between  14 and 37 CE. The pillar hieroglyphs are quintessentially Gallo-Roman erected by boatmen: nautae Parisiac[i/ publice posierunt 'set up publicly'. “If you read Latin, you can see the text contains a number of spelling mistakes; for example, 'maxsumo' should be 'maximo', and 'posierunt' should be 'posuerunt'. The people who wrote this were not yet completely familiar with the language of the Romans, it seems. Still, they wanted to express themselves the Roman way. Yet, particularly interesting from a modern perspective, is how the nautae specify their provenance: they do not call themselves the nautae of Lutetia, but the 'nautae parisiaci' - the Parisian shippers, or so. Indeed, this is one of the earliest surviving attestations of the name of Paris - which thus seems to antedate the Roman period.” https://www.facebook.com/permalink.php?story_fbid=991453917560262&id=471707109534948

See:  Nielsen, S; Andersen, J; Baker, J; Christensen, C; Glastrup, J; et al. (2005). “The Gundestrup cauldron: New scientific and technical investigations”, Acta Archaeologica, 76: 1-58. 

Jouttijärvi, Arne (2009), “The Gundestrup Cauldron: Metallurgy and Manufacturing Techniques”, Materials and Manufacturing Processes, 24: 960-966. 

Bergquist, A K & Taylor, T F (1987), “The origin of the Gundestrup cauldron”, Antiquity 61: 10-24.

Taylor, Timothy (1992), “The Gundestrup cauldron”, Scientific American, 266: 84-89.

Koch, John ed., "Gundestrup cauldron" in Celtic Culture: A Historical Encyclopedia, 2006, ABC-CLIO,

National Museum of Denmark: Web section http://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-early-iron-age/the-gundestrup-cauldron/

Gundestrup cauldron

Interior. Plate A.

Plate A. Detail. Inside panel. Horned figure.

Interior plate C.

Interior plate E.

Boar helmeted figure.

Celtic torc.Bronze. 4th cent. BCE. From France.

Head of an exterior plate.

Exterior plate. Torc wearing head.

Detail. Exterior Plate.

Carnyx players

Carnyx head from Tintignac group

Torrs pony-cap and horns

Celtic helmet with raven crest from Satu Mare, Romania ca. 4th cent. BCE

Plaque with Thracian horseman

Thracian disc found in the Netherlands.

Achaemenid seal impression. Master of animals subduing two Mesopotamian lamassu.

Griffin. Ancient Greek vase

Pasupati (Lord of animals) seal. Mohenjo-daro.

Gallo-Roman figure of Taranis/Jupiter with his wheel and thunderbolt, and carrying torcs

Prima donna SoniaG Agusta scam:Parrikar to place detailed chronology w/ docs on May 4. Corrupt to march on May 6. NaMo,nationalise kaalaadhan.

May 1, 2016, 12:50 am

≫ Next: Harappa tiny steatite tablets with Indus script are works in process documentation from smelter, smithy

≪ Previous: kāraṇī 'helmsman, scribe, supercargo' of Indus Script~~Kernunno of Pilier des Nautes

$

0

0

Agusta deal: Parrikar to reveal details on May 4

New Delhi | 01 May, 2016

In a bid to rattle the Congress, Defence Minister Manohar Parrikar on Sunday said that he will place the “detailed chronology with documents” about the AgustaWestland chopper scam before Parliament on May 4.

"I will place the detailed chronology with documents giving facts about AgustaWestland chopper deal before Parliament on May 4,” Parrikar said.

The announcement comes in the wake of a combative Congress alleging witch-hunt by the ruling Bharatiya Janata Party (BJP) government at the Centre especially against its top leadership including party chief Sonia Gandhi.

The Congress has been challenging the Union government to bring forth proof of wrongdoing against Sonia Gandhi over alleged payoffs in the supply of 12 AgustaWestland helicopters to India after an Italian appeals court handed prison terms to former chiefs of Finmeccanica and AgustaWestland on corruption charges.

The tension between the two groups intensified when BJP parliamentarian in the Rajya Sabha Subramanian Swamy dragged Sonia Gandhi’s name into the controversy while addressing the upper house.

An agitated Congress on Saturday announced to hold a protest outside parliament on May 6 to expose the ‘deceit and deliberate lies' against opposition, amid escalating confrontation with the government.

Party chief Sonia Gandhi, vice president Rahul Gandhi and several other party workers would march from Jantar Mantar early morning to parliament.

http://www.thestatesman.com/news/india/agusta-deal-parrikar-to-reveal-details-on-may-4/139631.html