A pillar close to temple's southern entrance. If this pattern of temple design situating skambha lingas close to the temples can be extrapolated to Dholavira times, it is possible to explain the presence of two skambhas on the Dholavira 'theatre' as memorials close to the circules of stones which may have constituted menhir-stones in memory of the departed ancestors; and hence, the two pillars might have constituted two memorial pillars venerating the departed ātman, the pitṛ-s.

A hero-stone leaning on a Shivalinga.

A collection of Shivalinga. In the back ground is river Tungabhadra river in Bellary district.

I suggest that these are hieroglyphs signifying pillars of light: tã̄bṛā, tambira (Prakritam) Rebus: tamba, 'copper' (Meluhha. Indian sprachbund)

See: three stumps on Sit Shamshi bronze. [kūpa -- 2, stambha -- ] G. kuvātham m. ʻ mast of a ship ʼ.(CDIAL 3403)  *ṭhōmba -- . 1. G. ṭhobrũ ʻ ugly, clumsy ʼ.2. M. ṭhõb m. ʻ bare trunk, boor, childless man ʼ, thõbā m. ʻ boor, short stout stick ʼ (LM 340 < stambha -- ).(CDIAL 5514) Rebus: tamba, 'copper' (Meluhha. Indian sprachbund) Numeral three: kolmo 'three' Rebus: kolami 'smithy, forge'.

The entire message of Sit Shamshi is bronze is worship of the sun. The message signifies copper metalwork. It is significant that one of the meanings to the Meluhha gloss sūrya is: copper: சூரியன் cūriyaṉ , n. < sūrya. Mountain containing copper; செம்புமலை. (W.)

Sit-Shamshi (Musée du Louvre, París). Tabla de bronce que parece resumir sabiamente el ritual del antiguo Elam. Los zigurats recuerdan el arte mesopotámico, el bosque sagrado alude a la devoción semita por el árbol verde, la tinaja trae a la mente el “mar de bronce”. Los dos hombres en cuclillas hacen su ablución para celebrar la salida del Sol. Una inscripción, que lleva el nombre del rey Silhak-in-Shushinak, permite fijar su datación en el siglo XII a.C.

"The texts mention the "temples of the grove," cave sanctuaries where ceremonies related to the daily renewal of nature were accompanied by deposition of offerings, sacrifice and libations. The Sit Shamshi is perhaps a representation. It is also possible that this object is a commemoration of the funeral ceremonies after the disappearance of the sovereign. Indeed, this model was found near a cave, and bears an inscription in Elamite where Shilhak-Inshushinak remember his loyalty to the lord of Susa, Inshushinak. The text gives the name of the monument, the Sit Shamshi, Sunrise, which refers to the time of day during which the ceremony takes place." Source: http://www.3dsrc.com/antiquiteslouvre/index.php?rub=img&img=236&cat=10

Kalibangan fire-altars. In one pit, a cylindrical clay stele was found. Could such steles located in many ancient archaeological sites, denote skambha of Atharvaveda? Such stele were 30-40 cms. in height and 10-15 cms. in diameter, and formed the centrepoint of the hearths (Lal, BB 1984, Some reflections on the structural remains at Kalibangan in inIndus civilization: New perspectives, AH Dani ed.: 57).

Dholavira Excavation Report (April 2015) provides details of the finds of six polished stone pillars with two illustrations and a write-up:

Fig. 8.304. Freestanding columns in situ

"8.9.2.2 Free standing columns. At least six examples of freestanding columns were discovered from the excavations. Three freestanding columns are tall and slender pillars with circular cross-section and with a top resembling a phallus or they are phallic in nature. That is why most of them were found in an intentionally damaged and smashed condition. The phallus is depicted realistically with even the drawing of foreskin shown clearly. Two of these freestanding columns are found near eastern end of high street of Castle. These columns measure nearly 1.5m in height and are found at the strategic location of entering into the high street from the east gate of Castle. These two columns are placed in such a manner at the beginning of high street that they divide the street into three equal parts. The other freestanding columns of the same variety and typology, numbering four were found in a completely smashed and broken condition. Two of such columns were found in a secondary condition, fitted as a masonry of Tank A while the other one was found in a masonry in a later period structure near the western fortification of Castle. Two more examles, completely smashed and destroyed ones were also found, one near the western end of Ceremonial Ground and the second near the north gate of Castle. The destruction and desecration of these columns can be equated with that of the damage caused to the stone statue, which clearly indicates a change in ideology and traditions, customs after the Harappan phase."(pp. 589-591)  http://asi.nic.in/pdf_data/dholavira_excavation_report_new.pdf

A pair of Skambha in Dholavira close to kole.l'smithy, temple' ( (8-shaped stone structure): Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy.(DEDR 2133).

Hieroglyph: tamba 'pillar'; tambu id. (Sindhi) Rebus: tamba, tã̄bṛā, tambira 'copper' (Prakritam)

 One side of a Mohenjo-daro prism tablet (Full decipherment of the three sided inscription is embedded). What was the cargo carried on the boat? I suggest that the cargo was Meluhha metalwork -- castings and hard copper alloy ingots. Together with the pair of aquatic birds, the metalwork is with hard alloys (of copper).

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

Hieroglyph: tamar ‘palm’ (Hebrew) Rebus: tam(b)ra ‘copper’ (Santali) 

dula ‘pair’ Rebus: dul ‘cast metal’ (Santali) Thus, together, dul tam(b)ra 'copper casting'.

Śrīvatsa, an abiding cultural, metallurgical wealth continuum

Śrīvatsa

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 (Srivatsa) 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). 

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

, 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'

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 

Ayagapatta, Kankali Tila, Mathura.

 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.

Kushana period, 1st century C.E.From Mathura Red Sandstone 89x92cm

books.google.com/books?id=evtIAQAAIAAJ&q=In+the+image...

"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

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.

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)

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

Bharhut stupa torana replicated on a Bharhut frieze. The centerpiece mollusc hypertext is flanked by two srivatsa hypertexts. The gateway entrance is adorned with a garland.

Bharhut gateway, Gateway model in ivory of Begram, Sanchi gateway (all three adorned with 

ayo kammaṭa )

The hypertexts of the following frieze signify a mint:

Amaravati. British Museum. Throne under the tree. Coins in the bottom register. kuTi 'tree' rebus: kuThi 'smelter'

meD 'step' rebus: meD 'iron'.

पट n. a thatch or roof (= पटल) L.

పటహము (p. 695) paṭahamu paṭahamu. [Skt.] n. A kettle drum, a war drum. తప్పెట. पटह [p= 579,2]m. (rarely n. or f(ई).) a kettledrum , 

a war-drum , drum , tabor (acc. with √ दा , or Caus. of √ दा or √ भ्रम् , to proclaim anything by the sound of a drum) MBh. Ka1v. &c

Hieroglyph: Hood of a serpent: 

పటము (p. 695) paṭamu paṭamu. [Skt.] n. A cloth, వస్త్రము. A picture. గెరిపటము a paper kite, పతంగి. 

The hood of a serpent, (See hoods of cobra adorning the worshipping naga-s). Vikalpa: phaṇi 'cobra's hood' rebus: lead or tin. 

paṭṭaḍi signifies 'workshop' . The hypertext is composed of paṭṭa, paṭa slab + aḍi'foot' hieroglyphs which recur oj many sculptural friezes of Amaravati, Sanchi, Bharhut.

Vikalpa: پاتا pātā پاتا pātā, s.f. (6th) The funeral service (from A فاتحه) (E.) Sing. and Pl.; (W.) Pl. پاتاوي pātāwī. پاتا کول pātā kawul, or پاتا ویل pātā wa-yal, verb trans. To offer up prayers for the dead, to perform the funeral service, to make an exordium.

khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage' PLUS dula 'pair' rebus: dul 'metalcasting' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, the hypertext message is: dul aya kammaṭa 'cast metal mint' 

Drawing of two medallions (probably the front and back of the same piece) showing (a) Naga king surrounded by women (b) lotus medallion. [WD1061, folio 77]
Copyright © The British Library Board

Inscribed: 6ft.1.5in. by 3ft.3in. No.59. H.H. August 1817

The wheel on Amaravati pillar signifies dhamma cakra. The rebus word is dhmā 'bellows blower'. The lotus flower in the lower register is tāmarasa 'lotus' rebus: tāmra 'copper'.

Sanchi torana.

http://www.greatbuildings.com/cgi-bin/gbc-drawing.cgi/Great_Stupa_at_Sanchi.html/Stupa_Sanchi_Detail_1.jpg

धम [p= 509,3] mfn. blowing , melting (ifc. ; cf. करं- , खरिं- , जलं- &c )
धमक [p= 509,3] m. " a blower " , blacksmith (as blowing the forge) Un2. ii , 35 Sch.
धम-धम [p= 509,3]m. " blower " , N. of a demon that causes disease Hariv.
धम-धमा ind. blowing repeatedly or the sort of sound made by blowing with a bellows or trumpet MW.

धम्मल [p= 510,1] m. the breast ornamented with gold or jewels (cf. °मिल्ल) W. (This semantics explain why Srivatsa is shown on the chest of Vishnu, Tirthankara).

ध्मा a[p= 509,3] or धम् cl.1 P. ध्/अमति (A1. °ते Up. MBh. ; p. ध्मान्तस् = धमन्तस् BhP. x , 12 , 7 ; perf. दध्मौ , 3. pl. A1. °मिरे MBh. ;aor. अध्मासीत् Ka1v. ; Prec. ध्मायात् or ध्मेयात् Gr. ; fut. धमिष्यति MBh. ; ध्मास्यति,ध्माता Gr. ; ind.p. -ध्म्/आय Br. ) to blow (either intrans. as wind [applied also to the bubbling सोम RV. ix , 73] or trans. as, to blow a conch-shell or any wind instrument) RV. &c  ; 

to blow into (loc.) MBh. l , 813  ; 

to breathe out , exhale RV. ii , 34 , 1 MBh. xiv , 1732  ; 

to kindle a fire by blowing RV. ii , 24 , 7 MBh. ii , 2483  ; 

to melt or manufacture (metal) by blowing RV. &c  ; 

to blow or cast away MBh. v , 7209 : Pass. धम्यते , ep. also °ति , ध्माय्/अते , °ति ( S3Br. MBh. ) to be blown&c : Caus. ध्मापयति MBh. (aor. अदिध्मपत् Gr. ; Pass. ध्माप्यते MBh. ) to cause to blow or melt  ; 

to consume by fire , reduce to cinder MBh. Sus3r. : Desid. दिध्नासति Gr.: Intens. देध्मीयते Pa1n2. 7-4 , 31  ; 

दाध्मायते , p. °यमान being violently blown (conch-shell) BhP. i , 11 , 2. [cf. Slav. dumo " smoke "]

Location: India Site: India Monument/Object: architectural fragment, lintel and pillars Current Location: Sarnath Site Museum, Uttar Pradesh, India Photo Depicts: left pillar, side 1 (arbitrary), upper half Period: Sunga and Related Periods Date: 2nd - 1st century BCE Material: sandstone, pink Scan Number: 11614 Photo Date: 1984 Image Source: Huntington Archive On this pillar, the two fish-fins are attached to a makara clearly signifying in Indus Script cipher, adhmakara 'forge-blower' dhamaka 'blacksmith' of akammaṭa 'mint, coiner, coinage'.

.

Location: India

Site: India

Monument/Object: architectural fragment

Current Location: Amaravati Site Museum, Amaravati, Andhra Pradesh, India

Subject: winged lion

Period: Satavahana Date: 1st century BCE - 1st century CE Material: stone Scan Number: 21348 Photo Date: 1984 Image Source: Huntington Archive kambha 'wing' rebus: kammata 'mint, coiner, coiinage' kola 'tiger' rebus: kolhe 'smelter' kole.l 'smithy, forge' kol 'working in iron' Amaravati. British Museum. Throne under the tree. Coins in the bottom register. kuTi 'tree' rebus: kuThi 'smelter' meD 'step' rebus: meD 'iron'. paṭa 'slab, turban, throne' PLUS aḍi  'foot' rebus: anvil PLUS dula 'two' rebus: dul 'metal casting'.  Thus the hypertext paṭṭaḍi  is a metalcasting anvil, workshop. Ta. aṭi foot, footprint, base, bottom, source, origin; aṭimai slavery, servitude, slave, servant, devotee; aṭitti, aṭicci maidservant; aṭiyavaṉ, aṭiyāṉ, aṭiyōṉ slave, devotee. Ma. aṭi sole of foot, footstep, measure of foot, bottom, base; aṭima slavery, slave, feudal dependency; aṭiyān slave, servant; fem. aṭiyātti. Ko. aṛy foot (measure); ac place below; acgaṛ place beneath an object, position after the first in a row; ac mog younger son. To.oṛy foot. Ka. aḍi foot, measure of foot, step, pace, base, bottom, under; aḍime slavery; aḍiya slave. Koḍ. aḍi place below, down. Tu. aḍi bottom, base; kār aḍi footsole, footstep; aḍi kai palm of the hand. Te. aḍugu foot, footstep, footprint, step, pace, measure of a foot, bottom, basis; aḍime slavery, slave, bondman; aḍiyãḍu slave, servant; aḍi-gaṟṟa sandal, wooden shoe. Ga. (S.2) aḍugu footstep (< Te.). Go. (G.) aḍi beneath; (Mu.) aḍit below; aḍita lower; aṛke below; (Ma.) aḍita, aḍna lower; (M.) aḍ(ḍ)i below, low; (L.) aḍī down; (Ko.) aṛgi underneath; aṛgita lower (Voc. 33). Konḍa aḍgi below, underneath; aḍgiR(i) that which is underneath; aḍgiRaṇḍ from below, from the bottom (DEDR 72) paṭa 'slab, throne' rebus: పటసాల (p. 695) paṭasāla paṭa-sāla. [Tel.] n. A hall or courtyard. Rebus: paṭṭaḍi 'workshop'   aḍi 'feet' (Note the feet shown below the fiery pillar on Amaravati sculptural frieze).paṭa पट । शासनपत्रम्, परिणाहः m. a slab, tablet, plate (of metal, for inscription or engraving of royal edicts, grants, etc.); a deed, a title-deed (of land), a deed of lease; a superficies, the width (of a board, piece of cloth, or the like); ˚ -- a chair, a throne; a tiara, a diadem; i.q. paṭh in all its senses. -boḍu -; । विस्तृतपरिणाहः adj. (f. -büdü ;), of great width, very wide. -holu ; । वक्रपरिणाहः adj. (f. -hüjü -ह;), (of something flat) having a crooked, or uneven, width. paṭa-rönī पट-रा&above;नी । महिषी(महाराज्ञी) f. a queen (decorated with a tiara), the principal wife of a king (K. 73, 1132). paṭuku paṭuku पटुकु; । परिणाहसंबन्धी, दानपत्रादिसंबन्धी adj. (f. paṭücü), of, or belonging to, a title-deed; of, or belonging to, width.  (Kashmiri) .పట్టము (p. 696) paṭṭamu paṭṭamu. [Skt.] n. A gold band or fillet tied on the forehead of one at the time of his coronation  as king, పట్టాభిషేక కాలమున నొసటకట్టెడుపట్టె. A diadem.  Silk thread, పట్టుమాలు. The bark of a tree, చెట్టుమీదిపట్ట. A grant or lease granted by asking to the ryots, రాజు రైతులకిచ్చు పట్టా.  A title, బిరుదు.  A grade or step in genealogy. A kingdom, రాజ్యము. అతనికి ప్రతాప సింహుడనే పట్టము  పట్టడ (p. 696) paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు.  పటకారు (p. 695) paṭakāru paṭakāru. [Tel. పట్టు+కారు.] n. Tongs, great pincers.  கொல்லன்பட்டடை kollaṉ-paṭṭaṭai , n. < கொல்லன் +. Anvil; அடைகல். (C. G.) சேகரம்பட்டடை cēkaram-paṭṭaṭai , n. < சேகரம்¹ +. 1. Village granary of a big land- lord; நிலச்சுவான்தாருக்குரிய கிராமக்களஞ்சியம். Rd. 2. The heap of grain gathered from the various threshing-floors of a landlord; ஒருவருக்குச் சொந்த மான பல களத்திலிருந்து ஒன்றுகூட்டிய நெற்குவியல். Tj. பட்டடை¹ paṭṭaṭai , n. prob. படு¹- + அடை¹-. 1. [T. paṭṭika, K. paṭṭaḍe.] Anvil; அடைகல். (பிங்.) சீரிடங்காணி னெறிதற்குப் பட்ட டை (குறள், 821). 2. [K. paṭṭaḍi.] Smithy, forge; கொல்லன் களரி. 3. Stock, heap, pile, as of straw, firewood or timber; குவியல். (W.) 4. Corn-rick, enclosure of straw for grain, wattle and daub, granary; தானியவுறை. (W.) 5. Layer or bed of olas for grain; தானியமிடுற்கு ஓலைகளாலமைத்த படுக்கை. (W.) 6. Anything held against another, as a support in driving a nail; prop to keep a thing from falling or moving; ஆணி முதலியன செல்லுதற்கு அடியிலிருந்து தாங்குங் கருவி. (W.) 7. Frame of timbers to place under a dhoney when ashore, to keep it from the ground; கரையிலிருக்கும்போது பூமி யிற் பதியாதபடி அடியில் வைக்குந் தோணிதாங்கி. (W.) 8. Support for the head in place of a pillow; தலையணையாக உதவும் மணை. (W.) 9. Piece of board temporarily used as a seat; உட் காரும் பலகை. (W.) 10. Plank used for crossin a channel; கால்வாய் கடத்தற்கு உதவும் பலகை. (W.) 11. The platform of the car that carries the idol; வாகனத்தட்டு. Loc. 12. Block of wood provided with iron-tubes for explosion of gun-powder; அதிர்வேட்டுக் குழாய்கள் பதிக்கப்பட்ட கட்டை. Loc. 13. Repeated explosion of gun-powder stuffed in iron-tubes; தொடர்ந்து வெடிக்கும் அதிர்வேட்டு. 14. A layer or course of earthwork, as in raising mud-wall; சுவரிலிடும் மண்படை. Loc. 15. Portion allowed to ploughmen from the proceeds of a harvest; குடிவாரம். Loc. 16. Cultivation, irrigation; சாகுபடி செய்கை. பட்டடைக்குத் தண்ணீர் இறைக்க. (W.) 17. Plot of wet land cultivated mainly by lift-irrigation; இறைப்புப் பாசனமுள்ள நன் செய்த் தாக்கு. Loc. 18. (Mus.) The fifth note of the gamut; ஐந்தாம் சுரமாகிய இளியிசை. வண்ணப் பட்டடை யாழ்மேல் வைத்து (சிலப். 3, 63). 19. One of the movements in playing a lute; ஓர் இசைக்கரணம். (குறள், 573, அடிக்குறிப்பு.) பட்டடைகட்டு-தல் paṭṭaṭai-kaṭṭu-, v. < id. +. (W.) intr. 1. To store up grain in an enclosure of straw; தானியவுறை கட்டுதல். 2. To set a prop or support; முட்டுக்கொடுத்தல். 3. To erect a workshop; தொழிற்சாலை ஏற்படுத்துதல். 4. To be avaricious; பேராசைப்படுதல்.--tr. To steal; களவுசெய்தல். பட்டடையார் paṭṭaṭaiyār , n. < id. (W. G.) 1. Master of a shop; கடையின் எசமானர். 2. Overseer; மேற்பார்ப்போர். https://s-media-cache-ak0.pinimg.com/236x/ed/6a/05/ed6a05aab1c88975596f07a1f877f2b7--bodhi-tree-british-museum.jpg Photograph of the ancient railing around the Mahabodhi Temple, Bodh Gaya, from the Archaeological Survey of India Collections, taken by Henry Baily Wade Garrick in 1880-81. The Mahabodi Temple complex is one of the holy sites related to the life of Buddha Bodhgaya pillar friezes with Indus Script hypertexts: karabha, ibha 'elephant' rebus: karba, ib 'iron' Composite animal, an anthropomorph: Artisan ligatured to body of a bovine: dhangar 'bull' rebus: dhangar 'blacksmith' https://i.pinimg.com/736x/3b/1d/d3/3b1dd3f72e83332f0d00b828aada547b--archaeological-survey-of-india-bodh-gaya.jpg Hieroglyph: fish Indian mackerel Ta. ayirai, acarai, acalai loach, sandy colour, Cobitis thermalis; ayilai a kind of fish. Ma. ayala a fish, mackerel, scomber; aila, ayila a fish; ayira a kind of small fish, loach (DEDR 191) 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. Vikalpa: Munda: <aDara>(L) {N} ``^scales of a fish, sharp bark of a tree''.#10171. So<aDara>(L) {N} ``^scales of a fish, sharp bark of a tree''. Rebus: Āyasa Āyasa (adj.) [Sk. āyasa, of ayas iron] made of iron S ii. 182; A iii.58; Dh 345; J iv.416; v.81; Vv 845 (an˚? cp. the rather strange expln. at VvA 335); Ayo & Aya (nt.) [Sk. ayaḥ nt. iron & ore, Idg. *ajes -- , cp. Av. ayah, Lat. aes, Goth. aiz, Ohg. ēr (= Ger. Erz.), Ags. ār (= E. ore).] iron. The nom. ayo found only in set of 5 metals forming an alloy of gold (jātarūpa), viz.ayo, loha (copper), tipu (tin), sīsa (lead), sajjha (silver) A iii.16 = S v.92; of obl. cases only the instr. ayasā occurs Dh 240 (= ayato DhA iii.344); Pv i.1013 (paṭikujjita, of Niraya). -- Iron is the material used kat)e)coxh/nin the outfit & construction of Purgatory or Niraya (see niraya & Avīci & cp. Vism 56 sq.). -- In compn. both ayo˚ & aya˚ occur as bases.   I. ayo˚: -- kapāla an iron pot A iv.70 (v. l. ˚guhala); Nd2 304 iii. d 2 (of Niraya). -- kūṭa an iron hammer PvA 284. -- khīla an iron stake S v.444; M iii.183 = Nd2 304 iii. c; SnA 479. -- guḷa an iron ball S v.283; Dh 308; It 43 = 90; Th 2, 489; DA i.84. -- ghana an iron club Ud 93; VvA 20. -- ghara an iron house J iv.492. -- paṭala an iron roof or ceiling (of Niraya) PvA 52. -- pākāra an iron fence Pv i.1013 = Nd2 304 iii. d 1. -- maya made of iron Sn 669 (kūṭa); J iv.492 (nāvā); Pv i.1014 (bhūmi of N.); PvA 43, 52. -- muggara an iron club PvA 55. -- sanku an iron spike S iv.168; Sn 667.   II. aya˚: -- kapāla = ayo˚ DhA i.148 (v. l. ayo˚). -kāra a worker in iron Miln 331. -- kūṭa = ayo˚ J i.108; DhA ii.69 (v. l.). -- nangala an iron plough DhA i.223; iii.67. -- paṭṭaka an iron plate or sheet (cp. loha˚) J v.359.-- paṭhavi an iron floor (of Avīci) DhA i.148. -- sanghāṭaka an iron (door) post DhA iv.104. -- sūla an iron stake Sn 667; DhA i.148. (Pali)  அகி² aki , n. cf. ayas. Iron; இரும்பு. (பிங்.)*அயசு ayacu , n. < ayas. Iron; இரும்பு. (சி. சி.. 4, 8, சிவாக்.)அயம்&sup6; ayam , n. < ayas. 1. Iron; இரும்பு. (பிங்.) 2. Iron filings; அரப்பொடி. (தைலவ. தைல. 6.)அயில்¹ ayil , n. cf. ayas. 1. Iron; இரும்பு அயிலாலே போழ்ப வயில் (பழமொ. 8). 2. Surgical knife, lancet; சத்திரம் வைக்குங் கத்தி. அயிலரி யிரலை விழுப்புண் (ஞானா. 30). 3. Javelin, lance; வேல். அயில்புரை நெடுங்கண் (ஞானா. 33). 4. Sharpness; கூர்மை. ஆண்மகன் கையி லயில்வாள் (நாலடி. 386). 5. Sedge; கோரை. (W.)அயோற்கம் ayōṟkam , n. < ayas. Iron filings; அரப்பொடி. (W.) అయస్కాంతము (p. 76) ayaskāntamu ayas-kāntamu. [Skt.] n. The load-stone, a magnet. సూదంటురాయి అయస్కారుడు ayaskāruḍu. n. A black smith, one who works in iron. కమ్మరి. అయస్సు ayassu. n. Iron. ఇనుము.,  aya = iron (G.); ayah, ayas = metal (Skt.) aduru native metal (Ka.); ayil iron (Ta.) ayir, ayiram any ore (Ma.); ajirda karba very hard iron (Tu.)(DEDR 192). Ta. ayil javelin, lance, surgical knife, lancet.Ma. ayil javelin, lance; ayiri surgical knife, lancet. (DEDR 193). aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddhānti Subrahmaṇya’ Śastri’s new interpretation of the AmarakoŚa, Bangalore, Vicaradarpana Press, 1872, p.330); adar = fine sand (Ta.); ayir – iron dust, any ore (Ma.) Kur. adar the waste of pounded rice, broken grains, etc. Malt. adru broken grain (DEDR 134).  Ma. aśu thin, slender;ayir, ayiram iron dust.Ta. ayir subtlety, fineness, fine sand, candied sugar; ? atar fine sand, dust. அய.ர³ ayir, n. 1. Subtlety, fineness; நணசம. (த_வ_.) 2. [M. ayir.] Fine sand; நணமணல. (மலசலப. 92.) ayiram, n.  Candied sugar; ayil, n. cf. ayas. 1. Iron; 2. Surgical knife, lancet; Javelin, lance; ayilavaṉ, Skanda, as bearing a javelin (DEDR 341).Tu. gadarů a lump (DEDR 1196)  kadara— m. ‘iron goad for guiding an elephant’ lex. (CDIAL 2711). অয়সঠন [ aẏaskaṭhina ] a as hard as iron; extremely hard (Bengali) अयोगूः A blacksmith; Vāj.3.5. अयस् a. [इ-गतौ-असुन्] Going, moving; nimble. n. (-यः) 1 Iron (एति चलति अयस्कान्तसंनिकर्षं इति तथात्वम्; नायसोल्लिख्यते रत्नम् Śukra 4.169.अभितप्तमयो$पि मार्दवं भजते कैव कथा शरीरिषु R.8.43. -2 Steel. -3 Gold. -4 A metal in general. ayaskāṇḍa 1 an iron-arrow. -2 excellent iron. -3 a large quantity of iron. -क_नत_(अयसक_नत_) 1 'beloved of iron', a magnet, load-stone; 2 a precious stone; ˚मजण_ a loadstone; ayaskāra 1 an iron-smith, blacksmith (Skt.Apte) ayas-kāntamu. [Skt.] n. The load-stone, a magnet. ayaskāruḍu. n. A black smith, one who works in iron. ayassu. n. ayō-mayamu. [Skt.] adj. made of iron (Te.) áyas— n. ‘metal, iron’ RV. Pa. ayō nom. sg. n. and m., aya— n. ‘iron’, Pk. aya— n., Si. ya. AYAŚCŪRṆA—, AYASKĀṆḌA—, *AYASKŪṬA—. Addenda: áyas—: Md. da ‘iron’, dafat ‘piece of iron’. ayaskāṇḍa— m.n. ‘a quantity of iron, excellent iron’ Pāṇ. gaṇ. viii.3.48 [ÁYAS—, KAA ́ṆḌA—]Si.yakaḍa ‘iron’.*ayaskūṭa— ‘iron hammer’. [ÁYAS—, KUU ́ṬA—1] Pa. ayōkūṭa—, ayak m.; Si. yakuḷa‘sledge —hammer’, yavuḷa (< ayōkūṭa) (CDIAL 590, 591, 592). cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa; Old Germ. e7r , iron ;Goth. eisarn ; Mod. Germ. Eisen.

Skambha, the Pillar or Fulcrum of all existence (Atharva Veda Skambha Suka AV X.7)

Skambha Sukta ( Atharva Veda X-7 ) kásminn áṅge tápo asyā́dhi tiṣṭhati kásminn áṅga r̥tám asyā́dhy ā́hitam kvà vratáṃ kvà śraddhā́sya tiṣṭhati kásminn áṅge satyám asya prátiṣṭhitam 1 kásmād áṅgād dīpyate agnír asya kásmād áṅgāt pavate mātaríśva kásmād áṅgād ví mimīté 'dhi candrámā mahá skambhásya mímāno áṅgam 2 kásminn áṅge tiṣṭhati bhū́mir asya kásminn áṅge tiṣṭhaty antárikṣam kásminn áṅge tiṣṭhaty ā́hitā dyáuḥ kásminn áṅge tiṣṭhaty úttaraṃ diváḥ 3 kvà prépsan dīpyata ūrdhvó agníḥ kvà prépsan pavate mātaríśvā yátra prépsantīr abhiyánty āvŕ̥taḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 4 kvā̀rdhamāsā́ḥ kvà yanti mā́sāḥ saṃvatsaréṇa sahá saṃvidānā́ḥ yátra yánty r̥távo yátrārtavā́ḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 5 kvà prépsantī yuvatī́ vírūpe ahorātré dravataḥ saṃvidāné yátra prépsantīr abhiyánty ā́paḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 6 yásmint stabdhvā́ prajā́patir lokā́nt sárvām̐ ádhārayat skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 7 yát paramám avamám yác ca madhyamáṃ prajā́patiḥ sasr̥jé viśvárūpam kíyatā skambháḥ prá viveśa tátra yán ná prā́viśat kíyat tád babhūva 8 kíyatā skambháḥ prá viveśa bhūtám kíyad bhaviṣyád anvā́śaye 'sya ékaṃ yád áṅgam ákr̥ṇot sahasradhā́ kíyatā skambháḥ prá viveśa tátra 9 yátra lokā́mś ca kóśāṃś cā́po bráhma jánā vidúḥ ásac ca yátra sác cāntá skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 10 yátra tápaḥ parākrámya vratáṃ dhāráyaty úttaram r̥táṃ ca yátra śraddhā́ cā́po bráhma samā́hitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 11 yásmin bhū́mir antárikṣaṃ dyáur yásminn ádhy ā́hitā yátrāgníś candrámāḥ sū́ryo vā́tas tiṣṭhanty ā́rpitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 12 yásya tráyastriṃśad devā́ áṅge sárve samā́hitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 13 yátra ŕ̥ṣayaḥ prathamajā́ ŕ̥caḥ sā́ma yájur mahī́ ekarṣír yásminn ā́rpitaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 14 yátrāmŕ̥taṃ ca mr̥tyúś ca púruṣé 'dhi samā́hite samudró yásya nāḍyàḥ púruṣé 'dhi samā́hitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 15 yásya cátasraḥ pradíśo nāḍyàs tíṣṭhanti prathamā́ḥ yajñó yátra párākrāntaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 16 yé púruṣe bráhma vidús té viduḥ parameṣṭhínam yó véda parameṣṭhínaṃ yáś ca véda prajā́patim jyeṣṭháṃ yé brā́hmaṇaṃ vidús te skambhám anusáṃviduḥ 17 yásya śíro vaiśvānaráś cákṣur áṅgirasó 'bhavan áṅgāni yásya yātávaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 18 yásya bráhma múkham āhúr jihvā́ṃ madhukaśā́m utá virā́jam ū́dho yásyāhúḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 19 yásmād ŕ̥co apā́takṣan yájur yásmād apā́kaṣan sā́māni yásya lómāny atharvāṅgiráso múkhaṃ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 20 asaccākhā́ṃ pratíṣṭhantīṃ paramám iva jánā viduḥ utó sán manyanté 'vare yé te śā́khām upā́sate 21 yátrādityā́ś ca rudrā́ś ca vásavaś ca samā́hítāḥ bhūtáṃ ca yátra bhávyaṃ ca sárve lokā́ḥ prátiṣṭhitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 22 yásya tráyastriṃśad devā́ nidhíṃ rákṣanti sarvadā́ nidhíṃ tám adyá kó veda yáṃ devā abhirákṣatha 23 yátra devā́ brahmavído bráhma jyeṣṭhám upā́sate yó vái tā́n vidyā́t pratyákṣaṃ sá brahmā́ véditā syāt 24 br̥hánto nā́ma té devā́ yé 'sataḥ pári jajñiré ékaṃ tád áṅgaṃ skambhásyā́sad āhuḥ paró jánāḥ 25 yátra skambháḥ prajanáyan purāṇáṃ vyávartayat ékaṃ tád áṅgaṃ skambhásya purāṇám anusáṃviduḥ 26 yásya tráyastriṃśad devā́ áṅge gā́trā vibhejiré tā́n vái tráyastriṃśad devā́n éke brahamvído viduḥ 27 hiraṇyagarbhám paramám anatyudyáṃ jánā viduḥ skambhás tád ágre prā́siñcad dhíraṇyaṃ loké antarā́ 28 skambhé lokā́ḥ skambhé tápaḥ skambhé 'dhy r̥tám ā́hitam skámbha tvā́ veda pratyákṣam índre sárvaṃ samā́hitam 29 índre lokā́ índre tápa índre 'dhy r̥tám ā́hitam índraṃ tvā́ veda pratyákṣaṃ skambhé sárvaṃ prátiṣṭhitam 30 nā́ma nā́mnā johavīti purā́ sū́ryāt puróṣásaḥ yád ajáḥ prathamáṃ saṃbabhū́va sá ha tát svarā́jyam iyāya yásmān nā́nyát páram ásti bhūtám 31 yásya bhū́miḥ pramā́ntárikṣam utódáram dívaṃ yáś cakré mūrdhā́naṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 32 yásya sū́ryaś cákṣuś candrámāś ca púnarṇavaḥ agníṃ yáś cakrá āsyàṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 33 yásya vā́taḥ prāṇāpānáu cákṣur áṅgirasó 'bhavan díśo yáś cakré prajñā́nīs tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 34 skambhó dādhāra dyā́vāpr̥thivī́ ubhé imé skambhó dādhārorv àntárikṣam skambhó dādhāra pradíśaḥ ṣáḍ urvī́ḥ skambhá idáṃ víśvaṃ bhúvanam ā́ viveśa 35 yáḥ śrámāt tápaso jātó lokā́nt sárvānt samānaśé sómaṃ yáś cakré kévalaṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 36 katháṃ vā́to nélayati katháṃ ná ramate mánaḥ kím ā́paḥ satyáṃ prépsantīr nélayanti kadā́ caná 37 mahád yakṣáṃ bhúvanasya mádhye tápasi krāntáṃ salilásya pr̥ṣṭhé tásmin chrayante yá u ké ca devā́ vr̥kṣásya skándhaḥ paríta iva śā́khāḥ 38 yásmai hástābhyāṃ pā́dābhyāṃ vācā́ śrótreṇa cákṣuṣā yásmai devā́ḥ sádā balíṃ prayáchanti vímité 'mitaṃ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 39 ápa tásya hatáṃ támo vyā́vr̥ttaḥ sá pāpmánā sárvāṇi tásmin jyótīṃṣi yā́ni trī́ṇi prajā́patau 40 yó vetasáṃ hiraṇyáyaṃ tiṣṭhantaṃ salilé véda sá vái gúhyaḥ prajā́patiḥ 41 tantrám éke yuvatī́ vírūpe abhyākrā́maṃ vayataḥ ṣáṇmayūkham prā́nyā́ tántūṃs tiráte dhatté anyā́ nā́pa vr̥ñjāte ná gamāto ántam 42 táyor aháṃ parinŕ̥tyantyor iva ná ví jānāmi yatarā́ parástāt púmān enad vayaty úd gr̥ṇanti púmān enad ví jabhārā́dhi nā́ke 43 imé mayū́khā úpa tastabhur dívaṃ sā́māni cakrus tásarāṇi vā́tave 44 1Which of his members is the seat of Fervour: Which is the base    of Ceremonial Order? p. 21   Where in him standeth Faith? Where Holy Duty? Where, in    what part of him is truth implanted? 2Out of which member glows the light of Agni? Form which    proceeds the breath of Mātarisvan?   From which doth Chandra measure out his journey, travelling    over Skambha's mighty body? 3Which of his members is the earth's upholder? Which gives the    middle air a base to rest on?   Where, in which member is the sky established? Where hath    the space above the sky its dwelling? 4Whitherward yearning blazeth Agni upward? Whitherward    yearning bloweth Mātarisvan?   Who out of many, tell me, is that Skambha to whom with long-    ing go the turning pathways? 5Whitheward go the half-months, and, accordant with the full    year, the months in their procession?   Who out of many, tell me, is that Skambha to whom go seasons    and the groups of seasons? 6Whitherward yearning speed the two young Damsels, accordant,   Day and Night, of different colour?   Who out of many, tell me, is that Skambha to whom the Waters    take their way with longing? 7Who out of many, tell me, is that Skambha,   On whom Prajāpati set up and firmly stablished all the worlds? 8That universe which Prajāpati created, wearing all forms,, the    highest, midmost, lowest,   How far did Skambha penetrate within it? What portion did    he leave unpenetrated? 9How far within the past hath Skambha entered? How much of    him hath reached into the future?   That one part which he set in thousand places,—how far did   Skambha penetrate within it? 10Who out of many, tell me, is that Skambha in whom men    recognize the Waters, Brahma,   In whom they know the worlds and their enclosures, in whom    are non-existence and existence? 11Declare that. Skambha, who is he of many,   In whom, exerting every power, Fervour maintains her loftiest    vow; p. 22   In whom are comprehended Law, Waters, Devotion and Belief 12Who out of many, tell me, is that Skambha   On whom as their foundation earth and firmament and sky are    set;   In whom as their appointed place rest Fire and Moon and Sun    and Wind? 13Who out of many, tell me, is that Skambha   He in whose body are contained all three-and-thirty Deities? 14Who out of many, tell me, is that Skambha.   In whom the Sages earliest born, the Richas, Sāman, Yajus,   Earth, and the one highest Sage abide? 15Who out of many, tell me, is the Skambha.   Who comprehendeth, for mankind, both immortality and death,   He who containeth for mankind the gathered waters as his    veins? 16Who out of many, tell me, is that Skambha,   He whose chief arteries stand there, the sky's four regions, he irk    whom Sacrifice putteth forth its might? 17They who in Purusha understand Brahma know Him who is.   Supreme.   He who knows Him who is Supreme, and he who knows the   Lord of Life,   These know the loftiest Power Divine, and thence know Skam-    bha thoroughly. 18Who out of many, tell me, is that Skambha   Of whom Vaisvānara became the head, the Angirases his eye,    and Yātus his corporeal parts? 19Who out of many, tell me, is that Skambha   Whose mouth they say is Holy Lore, his tongue the Honey-    sweetened Whip, his udder is Virāj, they say? 20Who out of many, tell me, is that Skambha   From whom they hewed the lichas off, from whom they    chipped the Yajus, he   Whose hairs are Sāma-verses and his mouth the Atharvāngi-    rases? 21Men count as 'twere a thing supreme nonentity's conspicuous    branch;   And lower man who serve thy branch regard it as an entity. 22Who out of many, tell me, is that Skambha p. 23   In whom Ādityas dwell, in whom Rudras and Vasus are    contained,   In whom the future and the past and all the worlds are firmly    set; 23Whose secret treasure evermore the three-and thirty Gods    protect?   Who knoweth now the treasure which, O Deities ye watch and    guard? 24Where the Gods, versed in Sacred Lore, worship the loftiest   Power Divine   The priest who knows them face to face may be a sage who    knows the truth. 25Great, verily, are those Gods who sprang from non-existence    into life.   Further, men say that that one part of Skambha is nonentity. 26Where Skambha generating gave the Ancient World its shape    and form,   They recognized that single part of Skambha as the Ancient   World, 27The three-and-thirty Gods within his body were disposed as    limbs:   Some, deeply versed in Holy Lore, some know those three-and-    thirty Gods. 28Men know Hiranyagarbha as supreme and inexpressible:   In the beginning, in the midst of the world, Skambha poured    that gold. 29On Skambha Fervour rests, the worlds and Holy Law repose on    him.   Skambha, I clearly know that all of thee on Indra is imposed. 30On Indra Fervour rests, on him the worlds and Holy Law    recline.   Indra, I clearly know that all of thee on Skambha findeth rest. 31Ere sun and dawn man calls and calls one Deity by the other's    name.   When the Unborn first sprang into existence he reached that    independent sovran lordship; than which aught higher never    hath arisen. 32Be reverence paid to him, that highest Brahma, whose base is   Earth, his belly Air, who made the sky to be his head. p. 24 33Homage to highest Brahma, him whose eye is Sūrya and the   Moon who groweth young and new again, him who made   Agni for his mouth. 34Homage to highest Brahma, him whose two life-breathings were    the Wind,   The Angirases his sight: who made the regions be his means of    sense. 35Skambha set fast these two, the earth and heaven, Skambha    maintained the ample air between them.   Skambha established the six spacious regions: this whole world   Skambha entered and pervaded. 36Homage to highest Brahma, him who, sprung from Fervour and    from toil,   Filled all the worlds completely, who made Soma for himself    alone. 37Why doth the Wind move ceaselessly? Why doth the spirit take    no rest?   Why do the Waters, seeking truth, never at any time repose? 38Absorbed in Fervour, is the mighty Being, in the world's centre,    on the waters' surface.   To him the Deities, one and all betake them. So stand the tree-    trunk with the branches round it. 39Who out of many, tell me, is that Skambha.   To whom the Deities with hands, with feet, and voice, and ear,    and eye.   Present unmeasured tribute in the measured hall of sacrifice? 40Darkness is chased away from him: he is exempt from all dist-    ress.   In him are all the lights, the three abiding in Prajāpati. 41He verily who knows the Reed of Gold that stands amid the    flood, is the mysterious Lord of Life. 42Singly the two young Maids of different colours approach the    six-pegged warp in turns and weave it.   The one draws out the threads, the other lays them: they break    them not, they reach no end of labour. 43Of these two, dancing round as 'twere, I cannot distinguish    whether ranks before the other.   A Male in weaves this web, a Male divides it: a Male hath    stretched it to the cope of heaven p. 25 44These pegs have buttressed up the sky. The Sāmans have turned    them into shuttles for the weaving. p. 26 http://www.sacred-texts.com/hin/av/av10007.htm

The Amaravati Album

Medallions

Although the pictures below show only a portion of each drawing, they lead into pop-up images of entire drawings. Detailed scans of each folio can be accessed through the links, but will take some time to download. Drawing of two medallions (perhaps the inner and outer face of the same piece). [WD1061, folio 45] Copyright © The British Library Board Inscribed:3ft. by 3ft.2in. Outer circle 2nd. H.H. March 8th 1817. Location of Sculpture: Unknown. Larger image (69KB) Full-page image (545KB) Drawing of railing medallion carved with scene of men running through a crowd. [WD1061, folio 49] Copyright © The British Library Board Inscribed:3ft.1.8in. across (height not given). H.H. 14th March 1817.Location of Sculpture: Unknown. Larger image (52KB) Full-page image (394KB) Drawing of medallion showing devotees around a stupa. [WD1061, folio 63]. Copyright © The British Library Board Inscribed:2ft.11.5in. by 3ft.3.3in. The best finished sculpture in Depaldinna. Outer gate. .H. April 1817. Location of Sculpture: The British Museum, Knox (1992) catalogue number 27; Barrett (1954) catalogue number 85; BM8. Larger image (167KB) Full-page image (411KB) Drawing of medallion showing a man holding a begging bowl surrounded by devotees.[WD1061, folio 65] Copyright © The British Library Board Inscribed: 2ft.11in. by 3ft.2.6in. Outer circle No.18 (No.19 drawn by Newman) Principal figure horse. H.H. April 1817. Location of Sculpture: Madras Government Museum, Chennai. Accession number 132. See Sivaramamurti catalogue (1998), plate number XXVI. Larger image (142KB) Full-page image (414KB) Drawings of both sides of a medallion. The front is carved with dancers and musicians and the back with a lotus medallion. [WD1061, folio 66] Copyright © The British Library BoardInscribed: 2ft.llin. by 3ft.3in. Outer Circle 16 (17 drawn by Newman). T. A.15th April 1817. Location of Sculpture: Unknown. Larger image (76KB) Full-page image (641KB) Drawing of two medallions (probably the front and back of the same piece) showing (a) male devotees surrounding a throne (b) lotus medallion. [WD1061, folio 76] Copyright © The British Library Board Inscribed: No.61. H.H. August 1817. Location of Sculpture: Unknown. Larger image (83KB) Full-page image (660KB) Drawing of two medallions (probably the front and back of the same piece) showing (a) Naga king surrounded by women (b) lotus medallion. [WD1061, folio 77] Copyright © The British Library Board Inscribed: 6ft.1.5in. by 3ft.3in. No.59. H.H. August 1817. Location of Sculpture: Unknown. Larger image (86KB) Full-page image (535KB) Drawing of a medallion with seated couple surrounded by attendants. [WD1061, folio 85] Copyright © The British Library Board Inscribed: 2ft.6.5in. by 2ft.6.5in. T.A. Location of Sculpture: Unknown. Larger image (136KB) Full-page image (428KB) Drawing of medallion with elephant and riders. [WD1061, folio 86] Copyright © The British Library Board Inscribed: 2ft. 11.5in. by 2ft.11.5in. The situation of this stone is to the south of the stones Mr. Hamilton drew last. T.A. Location of Sculpture: Unknown. Larger image (96KB) Full-page image (468KB) Drawing of medallion with lotus pattern. [WD1061, folio 87] Copyright © The British Library Board Inscribed: Ground. Location of Sculpture: Unknown. Larger image (122KB) Full-page image (523KB) http://www.bl.uk/onlinegallery/features/amaravati/medallions.html