"King Nebuchadnezzar II(604–562 BCE) ordered the construction of the gate and dedicated it to theBabylonian goddessIshtar. The gate was constructed using glazed brick with alternating rows of basreliemušḫuššu (dragons), aurochs (bulls), lions.",
mušḫuššu, auroch (unicorn), lion. Two of these three animals evoke the composite animal composites which is a unique characteristic of Indus Script Cipher.
The unicorn is a composite of spiny horned young bull (aurochs)..
A composite animal is called सांगड sāṅgaḍa A body formed of two or more (fruits, animals, men) linked or joined together. Rebus: sāṅgaha 'collection'; jangadiyo 'military guards accompanying treasure'; सांगड sāṅgaḍa 'double-canoe, catamaran'; जांगड[jāṅgaḍa] 'goods on approval' basis.
The 'unicorn' is also a composite animal composed of one spiny horn ligatured tothe body of a young bull. The rebus Meluhha readings are:
खोंड[khōṇḍa] m A young bull, a bullcalf; Rebus: kunda 'fine gold' konda 'furnace' PLUS singhin 'spiny horn' rebus: singi 'ornament gold'.
On Indus Script, lion signifies arye 'lion' rebus: āra 'brass'.
The mušḫuššu is a composite animal composed of cobra (face) with a horn and a curl, cobra (hood) as tail, forelegs as feline paws, hindlegs as talons of eagle. As an Indus Script hypertext composition, the hieroglyphs which constitute a composite .mušḫuššu are read rebus in Meluhha: phaḍā 'serpent hood' rebus: phaḍā, paṭṭada, 'metals manufactory' PLUS panja 'feline paws' rebus: panja 'kiln, furnace' PLUS kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS aśan, ahan 'falcon' rebus: ahan 'iron' aśani 'thunderbolt; آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Thus, the mušḫuššu as a composite animal, signifies metalwork catalogue of furnaces for metals, ironwork,production of iron thunderbolt weapons by blacksmiths.
Thus,the three animals adorning the Ishtar gate are products of metal wealth: fine gold, ornament gold,brass, iron implements and weapons.
This method of showing animals to signify wealth on the Ishtar Gate compares with the procession of animals shown as tributes from Musri to Shalamanaser III (858-824 BCE) shown in bas-relief on a Black Obelisk which include elephant, camels, monkeys, unicorn, water-buffalo and antelope.See:
Elephant, camel: Hieroglyphs: karibha, ibha 'elephant'karabhá m. ʻ camel ʼ MBh., ʻ young camel ʼ Pañcat., ʻ young elephant ʼ BhP. 2. kalabhá -- ʻ young elephant or camel ʼ Pañcat. [Poss. a non -- aryan kar -- ʻ elephant ʼ also in karḗṇu -- , karin -- EWA i 165] 1. Pk. karabha -- m., ˚bhī -- f., karaha -- m. ʻ camel ʼ, S. karahu, ˚ho m., P. H. karhā m., Marw. karhau JRAS 1937, 116, OG. karahu m., OM. karahā m.; Si. karaba ʻ young elephant or camel ʼ.2. Pa. kalabha -- m. ʻ young elephant ʼ, Pk. kalabha -- m., ˚bhiā -- f., kalaha -- m.; Ku. kalṛo ʻ young calf ʼ; Or. kālhuṛi ʻ young bullock, heifer ʼ; Si. kalam̆bayā ʻ young elephant ʼ Rebus: karba, ib 'iron'Addenda: karabhá -- : OMarw. karaha ʻ camel ʼ.
5. Monkeys: hieroglyphs: Four monkeys shown as tributes are:
kuṭhāru कुठारु monkey; rebus: kuṭhāru, कुठारु an armourer.
korg 'black monkey' rebus: kuro silver (Kol.Nk.)
रत्नीratnī 'female monkey dressed as woman'Rebus: ratnin 'possessing gifts', rátna n. ʻ gift ʼ RV., ʻ treasure, jewel ʼ Mn. [√raṇ1]Pa. ratana -- n. ʻ jewel ʼ
markaṭa मर्कट( Un2. iv , 81) a monkey , ape VS. &c Rebus: marakata n. ʻ emerald ʼ R.Pk. maraada -- , maragaya -- m.n.; Si. marā ʻ emerald ʼ, adj. ʻ greenʼ(CDIAL 9868) मरकत marakata m S An emerald. (Marathi)
Thus, the tributes signified by the animals from Musri are iron implements, metal armour, lapidary metalwork wealth from Meluhha and tin ore (ranku 'antelope' rebus; ranku 'tin').
This video is from a visit to the Pergamon museum in Berlin in may 2013. Wikipedia info about the Pergamon museum: The Pergamon Museum (German: Pergamonmuseum) is situated on the Museum Island in Berlin. The site was designed by Alfred Messel and Ludwig Hoffmann and was constructed in twenty years, from 1910 to 1930. The Pergamon Museum houses original-sized, reconstructed monumental buildings such as the Pergamon Altar and the Market Gate of Miletus, all consisting of parts transported from Turkey. The museum is subdivided into the antiquity collection, the Middle East museum, and the museum of Islamic art. The museum is visited by approximately 1,135,000 people every year, making it the most visited art museum in Germany (2007). [quote] This gate was built at the northern side of the city of Babylon by the king Nebuchadnezzar II in 575 BCE. It was the eighth gate into the city of Babylon, Mesopotamia (modern Babil Governorate, Iraq). The gate was built with glazed bricks and decorated with alternating rows of bas-reliefs of aurochs (representing the god Adad) and dragons (also known as Mušḫuššu or Sirrush which represent the god Marduk). The gate (and its inscription wall or plaque) was excavated by a German archaeological team lead by Robert Koldewey from 1902-1914 CE. A complete reconstruction was made within the PergamonMuseum in Berlin, Germany, during the 1930s CE. This video features the gate and its inscription plaque together with wall plaques of the throne room of the king Nebuchadnezzar II. The Pergamon Museum, Berlin, Germany. [unquote] https://www.ancient.eu/video/527/the-ishtar-gate-of-babylon-at-the-pergamon-museum-/
https://tinyurl.com/yybgt4zm Gold dinar, c. 128-150 CE Weight: 8.01 gm., Diam: 20-21 mm., Die axis: 12 o'clock Crowned, diademed king standing facing, holding spear and sacrificing at altar at left, Bactrian legend around: þAONANOþAO KA ... NηþKI KOþANO (King of Kings Kanishka Kushan) / Four-armed Oesho (Shiva?) standing facing, head turned to left, nimbate, holding various attributes, Bactrian legend right: OηþO, tamgha at left Göbl 62
The legend on this coin reads "Oesho," which suggests the Iranian wind god Wesho,while the image seems to be that of Shiva with his various familiar attributes: trident, deerskin, damaru or drum (also seen as a thunderbolt) and water pot. It is possible that this image demonstrates that the two deities, Wesho and Shiva, were in the process of being merged at this time and place.
Two clearly identified hypertexts are: Goat or antelope and overflowing pot shown on obverse of the coin.
<lo-> `to be left over' (B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. @B24310. #20851.(B) {V} ``to be ^left over, to be ^saved''. Caus. . @B24300. #20861. Rebus: loa 'iron' (Mu.)Re(B),,(B) {N} ``^iron''. Pl. <-le> PLUS
Thus, the overflowing pot is a hypertext to signify metal tools, pots and pans of copper. The combined expression is: lokhaṇḍa 'metal tools, pots and pans, metalware'.
Goat hieroglyph:melh,mr̤eka'goat or antelope' rebus: milakkhu 'copper' mleccha 'copper'
https://tinyurl.com/y5nfep5e Is the animal shown on Ishtar Gate a unicorn? I suggest both on the Ishtar Gate AND on Indus Script Corpora, it is a young aurochs (खोंड khōṇḍa m A young bull, a bullcalf rebus:konda 'furnace' kunda 'fine gold') with a spiny horn. The uniquely ligatured animal signifies fine gold, ornament gold. Hence, the adoration of wealth with decorations in breathtaking splendour, on the Ishtar Gare. Singhin is the word for a spiny horn. Rebus singi 'ornament gold'. When a wing is ligatured the rebus Meluhha words are: khamba 'wing' rebus:kammaTa 'mint, coiner, coinage'*skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu, ˚bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khambʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.Rebus: (CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka.kammaṭa id.; kammaṭi a coiner. (DEDR 1236) Rebus reading: kunda singi kammaṭa 'fine gold, ornament gold -- mint'
A Dharma Digital Movie Visualization of a portion of Valmiki Ramayana Bala Kanda Sarga 2 Dharma Digital is engaged in bringing to life our ancient heroes and heroins mentioned in our Veda, Itihasa, Puranas. You can help this collective dream by contributing to our project.
I am an admirer of the painstaking scholarly endeavours of Shrikant Talageri ji, Koenraad Elst ji, Michel Danino ji, Vishal Agarwal ji, Manogna Shastry ji, Megh Kalyanasundaram ji, Gyaneshwer Chaubey ji and scores of others who have delved into the roots of Hindu civilization and in the process, debunked successfully the bogus invasion/migration postulates which were taken for granted even by savants like PV Kane ji, Tilak ji, Bhandarkar ji. Each scholar has joined the debate using multi-pronged discilinary focuses. It is not easy to reconcile genetics with language with archaeology with ancient texts.The challenge has been brilliantly joined.
I submit for consideration a source from another sub-discipline: Art history of the world. The 'unicorn' has been an enigmatic puzzle in literary studies. Surprise! The hieroglyph dominates the Indus Script Corpora which has now reached a cipher-breaking sample of over 8000 inscriptions (Unicorn is signified together with a standard device on 90% of inscriptions making the hypertext a signature tune of the ancient writing system). Why is the composite animal so important that it dominates the metaphors of the writing system of ca. 3300 BCE? The hieroglyph continues to enthrall people of Ancient Near East right upto 6th cent. BCE evidenced by the Ishgtar Gate brilliantly reconstructed by archaeologists and now kept in many museums including Pergamon Museum, Berlin. Aha! Unicorn (and also muṣuṣṣu composite animal) dominates the gate walls and pathways of the festival processions. The decipherment of Indus Script is one unsolved issue which should receive attention and debate. The 'unicorn' signified something of value; in fact, it is offered (as a symbol) as a tribute from Musri to Shalamanaser III on the Black Obelisk now in British Museum.Unravel the significance of the 'unicorn'. I have suggested that it reads in Meluhha phonetics, खोंडkhōṇḍa, kunda singhin 'horned young bull' rebus: kunda singi 'fine gold, ornament gold'; kō̃da कोँद 'kiln, furnace' (Kashmiri)I have also posited that this leads us into the roots of the Global Gold Standard for Fiscal transactions. Here are two leads: 1. Lydia electrum coin showing 'unicorn' and 'lion'; 2. Monograph posted on academia.edu
Join the challenge. It looks as though the Indus Script holds the secrets of documented evidence for the wealth of a nation, the Rāṣṭram of RV 10.125, thus enabling the writing of Ancient Economic History and Wealth of Nations, pace Adam Smith and Angus Maddison.
Boamah, Mavis D. and Lozier, Emilie H. and Kim, Jeongmin and Ohno, Paul E. and Walker, Catherine E. and Miller, Thomas F., III and Geiger, Franz M. (2019) Energy Conversion via Metal Nanolayers. Proceedings of the National Academy of Sciences of the United States of America, 116 (33). pp. 16210-16215. ISSN 0027-8424.http://resolver.caltech.edu/CaltechAUTHORS:20190729-125131912
Current approaches for electric power generation from nanoscale conducting or semiconducting layers in contact with moving aqueous droplets are promising as they show efficiencies of around 30%, yet even the most successful ones pose challenges regarding fabrication and scaling. Here, we report stable, all-inorganic single-element structures synthesized in a single step that generate electrical current when alternating salinity gradients flow along its surface in a liquid flow cell. Nanolayers of iron, vanadium, or nickel, 10 to 30 nm thin, produce open-circuit potentials of several tens of millivolt and current densities of several microA cm^(−2) at aqueous flow velocities of just a few cm s^(−1). The principle of operation is strongly sensitive to charge-carrier motion in the thermal oxide nanooverlayer that forms spontaneously in air and then self-terminates. Indeed, experiments suggest a role for intraoxide electron transfer for Fe, V, and Ni nanolayers, as their thermal oxides contain several metal-oxidation states, whereas controls using Al or Cr nanolayers, which self-terminate with oxides that are redox inactive under the experimental conditions, exhibit dramatically diminished performance. The nanolayers are shown to generate electrical current in various modes of application with moving liquids, including sliding liquid droplets, salinity gradients in a flowing liquid, and in the oscillatory motion of a liquid without a salinity gradient.
Note: Paul D. LeBlanc does refer to the OIT theory and refers to the virulent critique by Chetan Bhatt dismissing OIT as a modern myth created by Hindu nationalist chauvinists. (Bhatt, Chetan. Hindu nationalism: Origins, ideologies and modern myths. Oxford: Berg, an imprint of Oxford International Publishers Ltd., 2001. Paul D. LeBlanc suggests one new approach: "A number of future research areas have been revealed in this thesis. Aside from having explored the strengths and shortcomings of various historical approaches in regards to understanding of the Indus culture, the exploration of the early history of the Sumerianized Iranian plateau in the course of the 4th millennium and the various trade links that existed with neighbouring proto-Indus cultural sites (i.e., Mundigak, Mehrgahr) have argued for cross-cultural linkages to have been plausible at this early developmental period of the Indus Age. The connection that existed between the early Indus traders, for the most part running along the lapis trade routes through the Iranian plateau, interrelates the Indus culture, language and script, at the very outset of its nascent phase with other contemporary societies with whom they had commercial ties. Such a view makes valid the comparisons made between the Indus script and those other writing systems which the early Indus traders would have been exposed to, namely those to be found in the Mesopotamian and Egyptian commercial spheres.The archaeological discoveries that map out biological translocations across the Indian Ocean, thus connecting North East Africa (pre-dynastic Egypt) with the Indus civilization in a time when proto-hieroglyphs would first appear, further adds to the argument that the Indus scribes were possibly also similarly influenced by these same early Elamite stamp seals that “inspired” the first Egyptian scribes and the whole Near Eastern stamp seal tradition. To pursue such a line of inquiry would entail the study of detailed stylistic affinitites possibly shared between the Indus script’s earliest signs with, i) contemporary Mesopotamian proto-cuneiform signs to which they might have been exposed or may have borrowed and adapted, as well as with, ii) contemporary Egyptian proto-hieroglyphs that the early Indus scribes could have possibly somehow come into contact with through Canaanite (Palestinian) middlemen merchants." (p.107) Paul D LeBlanc, 2013, Indus Epigraphic Perspectives: Exploring Past Decipherment Attempts & Possible New Approaches
M.A.Thesis, University of Ottawa Electronic Theses (FGPS)
First appearing on potsherds around 3300 BC, the Indus script was primarily in use during the Mature Harappan period (ca. 2600-1900 BC) in the Indus Valley region, centred in the north- western region of the Indian Subcontinent. It is one of the last remaining undeciphered scripts of the ancient world. A great number of Indus inscriptions, however, have been uncovered at many archaeological sites in the Persian Gulf, discoveries that corroborate the inclusion of the Indus civilization as an active participant in the Mesopotamian-dominated Gulf trade of the 3rd millennium. In addition to exploring the current state of research surrounding the Indus decipherment attempts, the thesis will examine new perspectives on ancient history, arguing in favour of various possibilities of Mesopotamian, Elamite, and/or pre-dynastic Egyptian (North East African) cultural presences or influences in the ancient Indus River basin.
dhā̆vaḍ 'smelter' Sign 180 Hieroglyph: tántu m. ʻ thread, warp ʼ RV. [√tan] Pa. tantu -- m. ʻ thread, cord ʼ, Pk. taṁtu -- m.; Kho. (Lor.) ton ʻ warp ʼ < *tand (whence tandeni ʻ thread between wings of spinning wheel ʼ); S. tandu f. ʻ gold or silver thread ʼ; L. tand (pl. °dũ) f. ʻ yarn, thread being spun, string of the tongue ʼ; P. tand m. ʻ thread ʼ, tanduā, °dūā m. ʻ string of the tongue, frenum of glans penis ʼ; A. tã̄t ʻ warp in the loom, cloth being woven ʼ; B. tã̄t ʻ cord ʼ; M. tã̄tū m. ʻ thread ʼ; Si. tatu, °ta ʻ string of a lute ʼ; -- with -- o, -- ā to retain orig. gender: S. tando m. ʻ cord, twine, strand of rope ʼ; N. tã̄do ʻ bowstring ʼ; H. tã̄tā m. ʻ series, line ʼ; G. tã̄tɔ m. ʻ thread ʼ; -- OG. tāṁtaṇaü m. ʻ thread ʼ < *tāṁtaḍaü, G.tã̄tṇɔ m.(CDIAL 5661) Rebus: M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ;(CDIAL 6773) धातु primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]) (Monier-Williams. Samskritam).
Sign 342 PLUS notch: 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) karNaka 'helmsman' PLUS खााडा [ kāṇḍā ] 'A jag, notch, or indentation (as upon the edge of a tool or weapon)' Rebus: kaNDa 'implements' (Santali). Thus Sign 343 signifies equipment scribe.
The inscription of two signs signifies equipment scribe + smelter.
vákṣas n. ʻ breast, chest ʼ RV.Pk. vakkha -- , vaccha -- n. ʻ chest ʼ; Sh.gil. baṣ m. ʻ lung ʼ, pales. bāṣ, jij. bāṣ (with low tone), kōl. bhāṣ; K. wach m. ʻ chest, bosom ʼ; L. vakkhī f., (Ju.) vakhī f. ʻ side below the ribs ʼ, awāṇ. vakkhī ʻ sides ʼ; P. vakkh, ba˚ f. ʻ the side ʼ, vakkhī, ba˚ f. ʻ side under armpit, rib ʼ, ḍog. bakhẽ adv. ʻ on the side of ʼ; WPah.bhad. ḍḷakh, ḍhḷakh ʻ side ʼ; H. bākh, bāk m. ʻ udder ʼ. -- Ash. wāš ʻ belly ʼ (NTS ii 285) rather < ūˊbadhya -- .(CDIAL 11188) vakṣaskāra m. ʻ basket ʼ (ʻ portions of Jaina works ʼ cf. Buddh. piṭaka -- ) Jain. [Prob. sanskritization of MIA. vakkhāra -- : see also *vyāskara -- ]Pk. vakkhāra -- m. ʻ granary ʼ, ˚aya -- n. ʻ women's quarters ʼ; S. vakhāra f. ʻ warehouse ʼ; P.ludh. bakhārā m. ʻ basket, granary ʼ, bakhārī, bukh˚ f. ʻ granary ʼ; Bi. bakhār, ˚rī ʻ straw or brushwood granary in the open ʼ (semant. cf. *jabbu -- ), Mth. bakhārī; H. bakkhar, bākhar m. ʻ house ʼ, bakhār, ˚rī f. ʻ storehouse, granary ʼ, G. vakhār f. (whence vakhārī m. ʻ warehouse -- keeper, merchant ʼ), M. vakhār f. (LM 401 < avaskara -- ).(CDIAL 11189) This may explain bakshi 'treasurer' (Hindi) "Bakshi is a surname and also a honorific given name or title that was given to Administrator / Paymasters and Commander in Chief of armies by Maharaja Ranjit Singh and other rulers during their reigns." https://en.wikipedia.org/wiki/Bakshi
"Pendant or medallion [from Mohenjo-daro] pictures the unicorn combined with many sacred symbols of the Indus religion. The body of the figure has a womb-shaped symbol in its belly, the same motif is elaborated to form the frame for the pendant, which is also a common design for shell inlay. Two leaf shapes of the sacred pipal tree are depicted at the animals shoulders and rump. A ritual offering stand is placed in front of the image. The deeply incised frame and the symbols on the unicorn would have been set with inlay." (J.M. Kenoyer, Indus Civilization, p. 188)
m1656 Mohenjodro Pectoral. The body of the young bull has the pictograph signified on the body. Arka flipped vertically and signified on the body of the young bull on pectoral, as shown below. The young bull signifies Hieroglyph: kõda 'young bull-calf'. Rebus: kundaṇa 'fine gold';kār-kund 'manager'.
The overflowing pot atop the one-horned young bull is an Indus Script hypertext. The rebus reading in Meluhha of the overflowing pot is:
lokhaṇḍa'metal tools, pots and pans, metalware' (Marathi) The expression is composed of two words: '(pot etc.) to overflow' and 'water'. The rebus readings are:
1. (B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. @B24310. #20851. Re(B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi)
Thus, the overflowing pot is a hypertext to signify metal tools, pots and pans of copper, made by .the young bull kār-kunda 'manager' who works as an artisan with the metallurgical competence of 'lapidary, goldsmith, turner' in mint.
The monograph is organized in the following eight sections:
1. Symbol of one-horn of the bovine
2. Symbols of rings on neck-- Semantic determinative of kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull.
3. Hieroglyph: neck, rings on neck:
4. Symbol highlights rump or thigh or hind leg
5. Pannier or double-sack symbol on the shoulder-- Semantic determinative of खोंडkhōṇḍa m A young bull, a bullcalf
6. Womb symbol with sharp rays on the belly -- signifies खर 'sharp' PLUS amśu 'rays, lustre, brilliance'
7. m1656 Pectoral highlights a young bull. The young bull (so-called unicorn) with this ligature of 'womb' is read rebus: खर-अंशुः the sun.rebus: kār-kunda ' 'manager; खोंड khōṇḍa m A young bull, a bullcalf. (Marathi); कोंदkōnda
'young bull'
8. The shovelform sack or pannier on shoulder is a semantic determinative of खोंड khōṇḍa m A young bull, a bullcalf. (Marathi); कोंद kōnda 'young bull'
This monograph reads rebus in Meluhha expressions, the symbols signified on the composition often referred to as 'unicorn' in front of a standard device (lathe + portable furnace). This decipherment is central to the purpose served by over 8000 Indus Script incriptions, the raison d'etre of the messaging or documentation of the work performed by artisans to create the wealth of a nation, since 75 to 80% of these inscriptions contain the pictorial motifs of 1. 'unicorn' and 2. standard device. These pictorial motifs recorded from ca. 3300 BCE, are the ātmā, the puruṣārtha of the Civilization of the Bronze Age. पुरुषा* र्थ m. any object of human pursuit; any one of the four objects or aims of existence (viz. काम , the gratification of desire ; अर्थ , acquirement of wealth ; धर्म , discharge of duty ; मोक्ष , final emancipation) (मनु-स्मृति,प्रबोध-चन्द्रोदय, कपिल) ( -त्व n. ) सांख्यकारिका&c;
human effort or exertion (महाभारत, रामायण)&c (Monier-Williams)This is an addendum to: The 'unicorn' of Indus Script is کارکنده kār-kunda ''manager, director, adroit, clever, experienced' (Pashto)
The 'unicorn' is the defining hypertext of Sarasvati civilization.
Unique orthographic ligatures on the bovine provide leads to decipher the Indus Script Cipher. "The animal most often represented on the seals is the apparently single-horned beast . . .. There is a possibility, I think, that the artist intended to represent one horn behind the other. In other animals, however, the two horns are shown quite distinctly. In some respects the body of this beast, which is always a male, resembles that of an antelope of heavy build, such as the eland or oryx, and in others that of an ox. The long tuffed tail may belong to either class. The horn is sometimes smooth . . . sometimes it has transverse ridges. In the latter case, the possibility of the creature being an ox is ruled out. The long pointed ears are also characteristic of the antelope. Perhaps we have here a fabulous animal which is a composite of the ox and antelope. And yet to the casual eye there is nothing fantastic about it, as about some of the other animals represented on seals; nor does it in any way resemble the unicorn of heraldry, which is made up of different parts of a number of animals, though it must be noted that the traditional unicorn was supposed to have originated in India" [Marshall, John, Mohenjo-daro and The Indus Civilization, Vol. II,p.382].
"Pendant or medallion [from Mohenjo-daro] pictures the unicorn combined with many sacred symbols of the Indus religion. The body of the figure has a womb-shaped symbol in its belly, the same motif is elaborated to form the frame for the pendant, which is also a common design for shell inlay. Two leaf shapes of the sacred pipal tree are depicted at the animals shoulders and rump. A ritual offering stand is placed in front of the image. The deeply incised frame and the symbols on the unicorn would have been set with inlay." (J.M. Kenoyer, Indus Civilization, p. 188)
2. Symbols of rings on neck-- Semantic determinative of kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull.
Seal m0296 vividly emphasises the rings on neckof the young bull.
3. Hieroglyph: neck, rings on neck:
Two readings are suggested:
Reading 1: खांद khānda m (खांदा) The shoulder, or the upper part of the back, or the back of the neck (of men or beasts); when considered with reference to carrying or to burdens. Ex. पालखीला खांद घातला- दिल्हा; खांद आला; खांद सुजला. Rebus:khaṇḍa 'implements'
Reading 2: koṭiyum [koṭ, koṭī neck] a wooden circle put round the neck of an animal (Gujarati) [cf. the orthography of rings on the neck of one-horned young bull]. Ka. kuttige throat, neck, throat and neck. Te. kutika, kutuka throat; kuttika, kuttuka throat, gullet, voice, tone; gontu, gontuka throat, voice, tone. Nk. kutka throat.
Pa. kunda gōlu nape of the neck. Konḍa gotika throat; (Sova dial.) kutu neck. Pe. kuta, in: kuta asponḍ hiccough. Manḍ. kuta ahponḍ id. Kuwi (Ṭ.) kuta, in: kuta ve'uri id.; (F.) kūta vē'ūri aiyali to hiccough; (S.) kūtha wiuri hicock (sic); (for ve'uri, see 5383).(DEDR 1718) P. kuṇḍal m. ʻ iron ring round an ox's neck, coil, ear -- ring ʼ, ˚lī f. ʻ ring, coil, curl ʼ (CDIAL 3268). I suggest that this is a semantic determinative of the 1) one-horn; hieroglhyph; 2) the workshop in which the artisan works and 3) the bovine which is a young bull :koḍiyum 'ring on neck' rebus: koḍ 'workplace'.
Semantic determinative for: kōḍu 'horn' Rebus koḍ 'workplace'
Reading 1: Hieroglyph: Buttock, back, thigh: (b) Pk. ṭaṁka -- m., °kā -- f. ʻ leg ʼ, S. ṭaṅga f., L. P. ṭaṅg f., Ku. ṭã̄g, N. ṭāṅ; Or. ṭāṅka ʻ leg, thigh ʼ, °ku ʻ thigh, buttock ʼ.2. B. ṭāṅ, ṭeṅri ʻ leg, thigh ʼ; Mth. ṭã̄g, ṭãgri ʻ leg, foot ʼ; Bhoj. ṭāṅ, ṭaṅari ʻ leg ʼ, Aw. lakh. H. ṭã̄g f.; G. ṭã̄g f., °gɔ m. ʻ leg from hip to foot ʼ; M. ṭã̄g f. ʻ leg ʼ.Addenda: 1(b): S.kcch. ṭaṅg(h) f. ʻ leg ʼ, WPah.kṭg. (kc.) ṭāṅg f. (obl. -- a) ʻ leg (from knee to foot) ʼ.(CDIAL 5428) Hieroglyph: ḍāg, 'waist': *ḍhākka ʻ back, waist ʼ. Wg. ḍakāˊ ʻ waist ʼ; Dm. ḍã̄k, ḍaṅ ʻ back ʼ, Shum. ḍäg, Woṭ. ḍāg, Gaw. ḍáka; Kal. rumb. ḍhak ʻ waist ʼ, urt. ḍhã̄k ʻ back ʼ; Bshk. ḍāk ʻ waist ʼ, d(h)āk ʻ back ʼ AO xviii 233; Tor. ḍāk, ḍāgʻ back ʼ, Mai. ḍāg, ḍā; Phal. ḍōk ʻ waist, back ʼ; Sh. ḍāki̯ f. ʻ back, small of back ʼ, pales. ḍāko; S. ḍhāka f. ʻ hip ʼ, L. ḍhāk; P. ḍhāk f. ʻ side, hip ʼ.(CDIAL 5582) Rebus: dhakka 'excellent, bright, blazing metal article'.Rebus: धक्क (p. 245) dhakka a (Imit.) Steady, enduring, unshaken (as under misfortune): hale, hearty, stanch, unflinching--man or animal: stout, sound, firm, fit to render good service--cloth, an article gen. 2 Brightshining, brilliant, very lustrous--metal, a gem, a firework. Hence 3 Bright and good, altogether excellent--a rupee or other coin. *dhakṣati ʻ burns ʼ [Cf. fut. part. vidhakṣyánt -- , aor. part. dhákṣat RV. -- √dah]G. dhakhvũ ʻ to get into a passion ʼ, dhakhāvvũ ʻ to make hot ʼ, dhakh f. ʻ thirst ʼ.Addenda: dhákṣu -- : S.kcch. ḍakho m. ʻ quarrel ʼ; B. dhak ʻ sudden blaze ʼ, Or. dhaka ʻ blaze ʼ (rather than < *dhagg -- ).(CDIAL 6703) Rebus: mint, pure gold: Ta. taṅkam pure gold, that which is precious, of great worth. Ma. taṅkam pure gold. /? < Skt. ṭaṅka- a stamped (gold) coin.(DEDR 3013) टङ्क m. a stamped coin Hit.; m. a weight of 4 माषs S3a1rn3gS. i , 19 Vet. iv , 2÷3; m. a sword L. ṭaṅkaśālā -- ,ṭaṅkakaś° f. ʻ mint ʼ lex. [ṭaṅka -- 1, śāˊlā -- ] N. ṭaksāl, °ār, B. ṭāksāl, ṭã̄k°, ṭek°, Bhoj. ṭaksār, H. ṭaksāl, °ār f., G. ṭãksāḷ f., M. ṭã̄ksāl, ṭāk°, ṭãk°, ṭak°. -- Deriv. G. ṭaksāḷī m. ʻ mint -- master ʼ, M. ṭāksāḷyā m.Addenda: ṭaṅkaśālā -- : Brj. ṭaksāḷī, °sārī m. ʻ mint -- master ʼ.(CDIAL 5434) ṭaṅka2 m.n. ʻ spade, hoe, chisel ʼ R. 2. ṭaṅga -- 2 m.n. ʻ sword, spade ʼ lex.1. Pa. ṭaṅka -- m. ʻ stone mason's chisel ʼ; Pk. ṭaṁka -- m. ʻ stone -- chisel, sword ʼ; Woṭ. ṭhõ ʻ axe ʼ; Bshk. ṭhoṅ ʻ battleaxe ʼ, ṭheṅ ʻ small axe ʼ (< *ṭaṅkī); Tor. (Biddulph) "tunger" m. ʻ axe ʼ (ṭ? AO viii 310), Phal. ṭhō˘ṅgif.; K.ṭŏnguru m. ʻ a kind of hoe ʼ; N. (Tarai) ṭã̄gi ʻ adze ʼ; H. ṭã̄kī f. ʻ chisel ʼ; G. ṭã̄k f. ʻ pen nib ʼ; M. ṭã̄k m. ʻ pen nib ʼ, ṭã̄kī f. ʻ chisel ʼ.2. A. ṭāṅgi ʻ stone chisel ʼ; B. ṭāṅg, °gi ʻ spade, axe ʼ; Or. ṭāṅgi ʻ battle -- axe ʼ; Bi. ṭã̄gā, °gī ʻ adze ʼ; Bhoj. ṭāṅī ʻ axe ʼ; H. ṭã̄gī f. ʻ hatchet ʼ. (CDIAL 5427) ṭaṅka1 m.n. ʻ weight of 4 māṣas ʼ ŚārṅgS., ʻ a stamped coin ʼ Hit., °aka -- m. ʻ a silver coin ʼ lex. 2. ṭaṅga -- 1 m.n. ʻ weight of 4 māṣas ʼ lex. 3. *ṭakka -- 1. [Bloch IA 59 ← Tatar tanka (Khot. tanka = kārṣāpaṇa S. Konow Saka Studies 184)]1. Pk. ṭaṁka -- m. ʻ a stamped coin ʼ; N. ṭã̄k ʻ button ʼ (lw. with k); Or. ṭaṅkā ʻ rupee ʼ; H. ṭã̄k m. ʻ a partic. weight ʼ; G. ṭã̄k f. ʻ a partic. weight equivalent to 1/72 ser ʼ; M. ṭã̄k m. ʻ a partic. weight ʼ.2. H. ṭaṅgā m. ʻ a coin worth 2 paisā ʼ.3. Sh. ṭăk m. ʻ button ʼ; S. ṭako m. ʻ two paisā ʼ, pl. ʻ money in general ʼ, ṭrakaku ʻ worth two paisā ʼ, m. ʻ coin of that value ʼ; P. ṭakā m. ʻ a copper coin ʼ; Ku. ṭākā ʻ two paisā ʼ; N. ṭako ʻ money ʼ; A. ṭakā ʻ rupee ʼ, B. ṭākā; Mth. ṭakā, ṭakkā, ṭakwā ʻ money ʼ, Bhoj. ṭākā; H. ṭakā m. ʻ two paisā coin ʼ, G. ṭakɔ m., M. ṭakā m.*uṭṭaṅka -- , *ṣaṭṭaṅka -- , ṭaṅkaśālā -- .Addenda: ṭaṅka -- 1 [H. W. Bailey in letter of 6.11.66: Khot. tanka is not = kārṣāpaṇa -- but is older Khot. ttandäka ʻ so much ʼ < *tantika -- ](CDIAL 5426) *ṭaṅkati2 ʻ chisels ʼ. [ṭaṅka -- 2] Pa. ṭaṅkita -- mañca -- ʻ a stone (i.e. chiselled) platform ʼ; G. ṭã̄kvũ ʻ to chisel ʼ, M. ṭã̄kṇẽ.(CDIAL 5433) టంకము ṭankamu. [Tel.] n. A piece of money: a coin: బంగారుటంకము a gold coin. A coin, of the value of 16 copper dubs. దీవారము. A composition of copper and pewter. A stonecutter's chisel. కాసెయులి. Borax వెలిగారము. టంకణము or టంకము ṭankaṇamu. n. Borax: subborate of soda. వెలిగారము. టంకసాల ṭanka-sāla. n. A mint. టంకవాటు or టంకసాలవాటు the name of a certain gold coin.
Reading 2: āsan 1आसन् । कटिप्रोथमध्यभागः m. the seat of a human being, buttocks, rump; the anu (Kashmiri) K. āsan m. ʻ buttocks, rump ʼ; P. āsaṇ m. ʻstool, seat on a horseʼ (note -- s -- , not -- h -- ); Ku. āsaṇ ʻsmall woollen rugʼ; A. āhon ʻthat part of an elephant's neck on which the driver sits, steersman's seat, natural seat formed by tree --branchesʼ, āhuniyā ʻforming a convenient seat (of branches)ʼ(CDIAL 1484) ahan-gārअहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) P آهنāhan, s.m. (9th) Iron. Sing. and Pl. آهن ګرāhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګرانāhan-garān. آهن رباāhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing. and Pl.); (W.) Pl. آهن رباويāhan-rubāwī. See اوسپنه. (Pashto)
Reading 3: P ساغريsāg̠ẖarī, s.f. (3rd) The space between the anus and the tail of a horse, the leather of the hind-quarters of an ass, from which shoes are made. Pl. ئِيaʿī.(Pashto) Rebus: S سنګرsangar, s.m. (2nd) A breastwork of stones, etc., erected to close a pass or road; lines, entrenchments. Pl. سنګرونهsangarūnah. See باره P بارهbāraʿh, s.f. (3rd) A fortification, defence, rampart, a ditch, palisade, an entrenchment, a breastwork. Pl. يْey. See سنګر
Reading 4: S. g̠ani f. ʻ hump of bullock ʼ, gã̄ḍi f. ʻ pudendum muliebre, anus ʼ (← H.?); P. gāṇḍ f. ʻ anus ʼ (← H.); N. gã̄ṛ ʻ goitre ʼ, gã̄ṛi ʻ pudendum muliebre ʼ, gã̄ṛu ʻ worthless fellow ʼ; A. gã̄r ʻ boil ʼ; B. gã̄ṛ ʻ protuberance round navel ʼ, gã̄ṛi ʻ anus ʼ; Or. gāẽṛ, gāṇḍiʻ anus, vagina, buttocks, bottom (of anything) ʼ; Mth. gã̄ṛi ʻ anus ʼ; H. gã̄ṛ f. ʻ anus ʼ, gã̄ṛū ʻ sodomite ʼ; G. gã̄ḍ n. ʻ anus ʼ, gã̄ḍũ ʻ mad ʼ; M. gã̄ḍ f. ʻ anus, buttocks ʼ, gã̄ḍū m. ʻ sodomite ʼ(CDIAL 3997) Rebus:khaṇḍa 'implements'
Pannier or double-sack symbol on the shoulder-- Semantic determinative of खोंडkhōṇḍa m A young bull, a bullcalf.
The shape of this or shovelform sack signifies: खोंडरूं khōṇḍarūṃ n A contemptuous form of खोंडा in the sense ofकांबळा-cowl; खोंडा khōṇḍā m A कांबळा of which one end is formed into a cowl or hood.; खोंडी khōṇḍī f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) खुंडी khuṇḍī f A cloth doubled over and sewn at one end, forming a घोंगता, खोपा, or खोळ (an open or outspread shovel-form sack). Used in exposing grain in the market. I suggest that this sack on the shoulder is a semantic determintive of the bovine which is: खोंड khōṇḍa m A young bull, a bullcalf.
5. Womb symbol with sharp rays on the belly -- signifies खर 'sharp' PLUS amśu 'rays, lustre, brilliance'
Faience bangle made in the shape of a shell bangle or the stylized "womb" motif, Harappa.
Orthographyof the young bull clearly shows the 'womb' symbol with sun’s rays on the belly of the bovine.
खरा* ंशु m. = °र-मयूख m. " hot-rayed " , the sun (धूर्तनर्तक) मयूख a ray of light , flame , brightness , lustre (उपनिषद्,वराह-मिहिर)(also f(आ); once n. in कौषीतकि-उपनिषद्); partic. अग्नि (गृह्य-सूत्र); अंशु a ray , sunbeam; a kind of सोम libation (शतपथ-ब्राह्मण)(Monier-Williams)
Rebus reading of the 'womb' symbol with orthographically amplified by 'rays' semantically signifying 'sharpness' is: खरांशु 'rays of sun',i.e. khara'sharp', खर mf(आ)n. hard , harsh , rough , sharp , pungent , acid (opposed to मृद्/उ and श्लक्ष्ण्/अ)(महाभारत,रामायण)
खरम् ind. in a sharp way (रामायणiii , 29 , 9) PLUS amśu 'rays, lustre, brilliance' rebus:khār 'blacksmith' PLUS ancu 'iron' (Tocharian). Thus, the 'womb' symbol signifies ironsmith, working with a brilliant, lustrous metal.
अंशुः aṃśuḥ अंशुः [अंश्-मृग˚ कु.] 1 A ray, beam of light; चण्ड˚, घर्मं˚ hot-rayed the sun; सूर्यांशुभिर्भिन्नमिवारविन्दम् Ku.1.32; Iustre, brilliance चण्डांशुकिरणाभाश्च हाराः Rām.5.9.48; Śi.1.9. रत्न˚, नख˚ &c. -2 A point or end. -3 A small or minute particle. - 4 End of a thread. -5 A filament, especially of the Soma plant (Ved.) -6 Garment; decoration. -7 N. of a sage or of a prince. -8 Speed, velocity (वेग). -9 Fine thread -Comp. -उदकम् dew-water. -जालम् a collection of rays, a blaze or halo of light. -धरः -पतिः -भृत्-बाणः -भर्तृ-स्वामिन् the sun, (bearer or lord of rays). -पट्टम् a kind of silken cloth (अंशुना सूक्ष्मसूत्रेणयुक्तं पट्टम्); सश्रीफलैरंशुपट्टम् Y. 1.186; श्रीफलैरंशुपट्टानां Ms.5.12. -माला a garland of light, halo. -मालिन्m. [अंशवो मालेव, ततः अस्त्यर्थे इनि] 1 the sun (wreathed with, surrounded by, rays). -2 the number twelve. -हस्तः [अंशुः हस्त इव यस्य] the sun (who draws up water from the earth by means of his 1 hands in the form of rays).
కమటము kamaṭamu kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి."చకమటముకట్లెసంచియొరగల్లునుగత్తెరసుత్తె
చీర్ణముల్ధమనియుస్రావణంబుమొలత్రాసునుబట్టెడనీరుకారుసానముపటుకారుమూసబలునాణెపరీక్షలమచ్చులాదిగానమరగభద్రకారకసమాహ్వయుడొక్కరుడుండునప్పురిన్" హంస. ii. Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1] N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdā, kõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibā, kū̃d˚ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi. kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m.(CDIAL 3295) kundakara m. ʻ turner ʼ W. [Cf. *1 -- 1] 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) *cunda1 ʻ wood or ivory work ʼ. [Cf. kunda -- 1]Pa.cunda -- m. ʻ ivory worker ʼ; Or. cundibā ʻ to do woodwork ʼ.*cundakāra -- .*cunda -- 2 ʻ protuberance ʼ see cūˊḍa -- 1.*cundakāra m. ʻ turner ʼ. [Cf. kundakara -- . -- *cunda -- 1, kāra -- 1] Pa. cundakāra -- m.; Ku. cunāro ʻ maker of wooden vessels ʼ, N. cunāro, can˚, cũdāro, cãd˚. (CDIAL 4861,4862)sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together, a turner's apparatus (Marathi); G. sãghāṛɔ m. ʻ lathe ʼ; (CDIAL 12859) Rebus:sãgaḍm.f. ʻ float made of two canoes joined together ʼ (M.) (LM 417 compares saggarai at Limurike in the Periplus, Tam. śaṅgaḍam, Tu. jaṅgala ʻ double -- canoe ʼ), sã̄gāḍā m. ʻ frame of a building ʼ, ˚ḍī f. ʻ lathe ʼ; Si. san̆gaḷa ʻ pair ʼ, han̆guḷa, an̆g˚ ʻ double canoe, raft ʼ.(CDIAL 12859) saṁghāṭa m. ʻ fitting and joining of timber ʼ R. [√ghaṭ]Pa. nāvā -- saṅghāṭa -- , dāru -- s˚ ʻ raft ʼ; Pk. saṁghāḍa -- , ˚ḍaga -- m., ˚ḍī -- f. ʻ pair ʼ; Ku. sĩgāṛ m. ʻ doorframe ʼ; N. saṅār, siṅhār ʻ threshold ʼ; Or. saṅghāṛi ʻ pair of fish roes, two rolls of thread for twisting into the sacred thread, quantity of fuel sufficient to maintain the cremation fire ʼ; Bi. sĩghārā ʻ triangular packet of betel ʼ; H. sĩghāṛā m. ʻ piece of cloth folded in triangular shape ʼ; M. sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together, part of a turner's apparatus ʼ(CDIAL 12859) saṁghaṭayati ʻ strikes (a musical instrument) ʼ R., ʻ joins together ʼ Kathās. [√ghaṭ]Pa. saṅghaṭita -- ʻ pegged together ʼ; Pk. saṁghaḍia<-> ʻ joinedʼ, caus. saṁghaḍāvēi; M. sã̄gaḍṇẽ ʻ to link togetherʼ. Addenda:
saṁghaṭayati: A.sāṅoriba (phonet.x -- )ʻ to yoke together ʼ AFD 333,sāṅor (phonet. x -- ) ʻ yoking together ʼ223.(CDIAL 12855)
సంగడము sangaḍamu. [from Skt. సంగతమ్.] n. Dumb-bells, సాముచేయువారుతిప్పేలోడు
7. m1656 Pectoral highlights a young bull. The young bull (so-called unicorn) with this ligature of 'womb' is read rebus: खर-अंशुः the sun.rebus: kār-kunda ' 'manager; खोंड khōṇḍa m A young bull, a bullcalf. (Marathi); कोंद kōnda
'young bull'
Gold Pendant. Harappa. National Museum, New Delhi. Sun's raysarka 'sun, rays of sun' rebus: arka'copper, gold' eraka 'moltencast'.
Orthographyof the young bull clearly shows sun’s rays on the belly of the bovine. Sun's rays arka 'sun, rays of sun' rebus: arka 'copper, gold' eraka 'moltencast'. Orthography of the young bull clearly shows sun’s rays on the belly of the bovine. This is an addendum to
khār 'blacksmith' PLUS खोंड khōṇḍa 'young bull' rebus: kō̃daकोँद 'furnace for smelting'. Thus,together the expression is کار کنده kār-kunda ''manager, director, adroit, clever, experienced' (Pashto) kṓṣṭha1 m. ʻ any one of the large viscera ʼ MBh. [Same as kṓṣṭha -- 2? Cf. *kōttha -- ] Pa. koṭṭha -- m. ʻ stomach ʼ, Pk. koṭṭha -- , kuṭ˚ m.; L. (Shahpur) koṭhī f. ʻ heart, breast ʼ; P. koṭṭhā, koṭhā m. ʻ belly ʼ, G. koṭhɔ m., M. koṭhā m.(CDIAL 3545) Kur. kaṛmā waist. Malt. kaṛme id.(DEDR 1143) కమ్మరు or కమరు kammaru. [Tel.] n. A girdle. మొలనూలు
కమ్మటము Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste.కమ్మరము kammaramu. [Tel.] n. Smith's work, iron work. కమ్మరవాడు, కమ్మరి or కమ్మరీడు kammara-vāḍu. n. An iron-smith or blacksmith. బైటికమ్మరవాడు an itinerant blacksmith.
8. The shovelform sack or pannier on shoulder is a semantic determinative of खोंड khōṇḍa m A young bull, a bullcalf. (Marathi); कोंद kōnda'young bull'
खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा , to hold or fend off grain, chaff &c.)' rebus: कोंद kōnda 'engraver, turner, fine gold'. Thus, the hypertext composition signifies workshop of a goldsmith, lapidary (turner, engraver). A remarkable cognate etymon signifying a young bull is seen in Telugu (Indian sprahbund, 'speech union'): kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull. కాడిమరపదగినదూడ. Plumpness, prime. తరుణము. జోడుకోడయలు a pair of bullocks. కోడె adj. Young. కోడెత్రాచు a young snake, one in its prime. "కోడెనాగముం బలుగుల రేడుతన్ని కొనిపోవుతెరంగు" రామా. vi. కోడెకాడు kōḍe-kāḍu. n. A young man. పడుచువాడు. A lover విటుడు. Te. kōḍiya, kōḍe young bull; adj. male (e.g. kōḍe dūḍa bull calf), young, youthful; kōḍekã̄ḍu a young man. Kol. (Haig) kōḍē bull. Nk. khoṛe male calf. Konḍa kōḍi cow; kōṛe youngbullock. Pe. kōḍi cow. Manḍ.kūḍi id. Kui kōḍi id., ox. Kuwi (F.) kōdi cow; (S.) kajja kōḍi bull; (Su. P.) kōḍi cow.(DEDR 2199). kor.a a boy, a young man (Santali) Ka. gōnde bull, ox. Te. gōda ox. Kol. (SR.) kondā bull; (Kin.) kōnda bullock. Nk (Ch.) kōnda id. Pa. kōnda bison.Ga. (Oll.) kōnde cow; (S.) kōndē bullock. Go.(Tr.) kōnḍā, (other dialects) kōnda bullock, ox (Voc. 972). (DEDR 2216).
Rebus: kõdār 'turner' (Bengali). konda 'furnace, fire-altar' kō̃daकोँद 'furnace for smelting':payĕn-kō̃daपयन्-कोँद । परिपाककन्दुः f. a kiln (a potter's, a lime-kiln, and brick-kiln, or the like); a furnace (for smelting). -thöji- or -thöjü-; । परिपाक-(द्रावण-)मूषाf. a crucible, a melting-pot. -ʦañĕ-। परिपाकोपयोगिशान्ताङ्गारसमूहः f.pl. a special kind of charcoal (made from deodar and similar wood) used in smelting furnaces. -wôlu-वोलु&below; । धात्वादिद्रावण-इष्टिकादिपरिपाकशिल्पी m. a metal-smelter; a brick-baker. -wān-वान् । द्रावणचुल्ली m. a smelting furnace.
कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner' kundana 'fine gold' PLUS kōḍu'horn' rebus koḍ 'workplace' PLUS koḍiyum 'ring on neck' rebus: koḍ 'workplace' PLUS khōṇḍī खोंडी 'pannier sack' rebus: कोंद kōnda 'engraver, turner, fine gold'.
Standard device in front of the horned young bull (unicorn) Hypertext formed with hieroglyphs: सांगड sāṅgaḍa m f (संघट्ट S) f A body formed of two or more (fruits, animals, men, parts); linked or joined together; सांगडणेंsāṅgaḍaṇēṃ v c (सांगड) To link, join, or unite together (boats, fruits, animals). Rebus: संग्रहsaṅgraha m (S) Collecting, gathering, accumulating: also a collection, accumulation, assemblage, aggregation, heap; saṁgraha m. ʻ collection ʼ Mn., ʻ holding together ʼ MBh. [√grah] Pa. saṅgaha -- m. ʻ collection ʼ, Pk. saṁgaha -- m.; Bi. sã̄gah ʻ building materials ʼ; Mth. sã̄gah ʻ the plough and all its appurtenances ʼ, Bhoj. har -- sã̄ga; H. sãgahā ʻ collection of materials (e.g. for building) ʼ; <-> Si. san̆gaha ʻ compilation ʼ ← Pa. (CDIAL 12852)
Rebus: saṁghāṭa'catamaran’
Rebus: jangaḍiyo 'military guard who accompanies treasure into the treasury’
https://tinyurl.com/y5c24bbo lo'membrum virile' rebus loh'metal, copper'. phada'cobrahood' rebus phaḍa, paṭṭaḍa'metals manufactory' Hence the image of the Daimabad charioteer on bronze chariot with ūrdhvaretas bhaṛkanu 'with raised membrum virile' has rebus bhaṭṭhā'kiln'. Four cobrahoods:gaṇḍa'four' rebus kaṇḍa'equipment'.lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi)
The media is struggling to translate the expression 'money laundering'. How to launder money? And how to express it in vernacular idioms?
Is there any reference in the Arthaśāstra to this process? Rgveda refers to a कुसीद a money-lender , usurer; n. any loan or thing lent to be repaid with interest , lending money upon interest , usury TS.iiiGobh. Gaut. Pa1n2. &c;
कुसिदायी f. ( Pa1n2. 4-1 , 37) id.Ka1t2h. x , 5; the wife of a money-lender.
It is clear money-lending was an important economic factor of production to produce capital for creating wealth of a nation. Did the ancient texts envisage 'laundering or washing' such money? As the civilizations moved from barter economy to financial transactions and SWIFT modes of fund transfers (and now, the bitcoin gimmicks to break the Gold standard of US dollar standard), how should vernacular languages cope with the translations of such transactions.
Hindi press has chosen the soft option, using the English expression 'laundering' written as लॉन्ड्रिंग in Devanagari script.
Are there any leads on more picturesque expressions?
Here is a vintage photo of a washerman and his partner who carries the load.
सॉलिसीटर जनरल तुषार मेहता ने कहा- यह गंभीर मनी लॉन्ड्रिंग का मामला, हमारे पास सबूत हैं
The same day, the Special CBI Court at Rouse Avenue Court Complex extended the CBI's custody of P Chidambaram till August 30. An application was later filed challenging the extension of remand.
During the second round of hearing before the Supreme Court yesterday, the Bench extended the interim protection granted to Chidambaram from arrest by the ED.
Senior Advocates Kapil Sibal and Abhishek Manu Singhvi are arguing for P Chidamabaram. Solicitor General Tushar Mehta is appearing for the Enforcement Directorate (ED).
Live Updates of today's hearing follow:
Hearing in the Supreme Court on P Chidambaram's petition for anticipatory bail in case registered by the Enforcement Directorate begins. Solicitor General Tushar Mehta begins to make the submission for the agency.
Every PMLA offence has two dimensions - predicate offence and laundering. Money laundering is a separate offence independent from the predicate/scheduled offence, Mehta.
We would be dealing with very intelligent people. A stupid man cannot launder money. Money laundering requires layers and layers of concealment, Mehta
These offences leave a money trail which needs to be tracked and the evidence is difficult to collect, Mehta
Most of the evidence is in the form of electronic format and within minutes of it being publicised or put before the Court, it will be gone, Mehta
This is why evidence cannot be shared till the prosecution complaint (chargesheet in CrPC parlance) is filed, Mehta
Money laundering is independently a criminal offence, Mehta
The statute stipulates the procedure of presenting the evidence to the adjudicating officer in a sealed cover, Mehta
Many of the official records that the ED receives are from other countries as India is apart of a global statutory network against money laundering, Mehta
There are provisions for attachment of overseas assets also and in this case also, we have attached properties abroad, Mehta
As on date laundering is going on, laundering is an offence. Money laundering is a stand alone offence, Mehta
Statute states that there must be a reason to believe based on matetial in possession and such reasons to be recorded by the adjudicating authority in cases of money laundering, Mehta
As a prosecuting agency, we have reached the stage of power to arrest, Mehta
The threshold before arresting is much higher as under PMLA than under IPC. Only specified officers can make the arrest after reasons are recorded in writing. All ingredients of Article 20 are covered, Mehta
Mehta summarises procedure under PMLA for arrest (i) Only the Director authorised can arrest (ii) based on reasons to believe an offence is committed (iii) reasons to be recorded in writing (iv) based on material in possession (v) evidence submitted to adjudicating authority in sealed cover
The evidence should be kept with an independent body and the evidence can be supplied to the accused only after chargesheet is filed, Mehta
Mehta reading out provisions of the PMLA in relation to the evidence and sealed envelope
The material in possession is sacrosanct and I cannot use it arbitrarily till chargesheet is filed and cannot serve to the other side till then according to the statue, Mehta
It's not done for "humiliation, humiliation, humiliation" as Mr Singhvi said yesterday but only for prevention, prevention, prevention with capital P, Mehta
Overseas banks have given some specific inputs regarding properties, companies etc. We have issued letters rogatory (LR), we have got some, we are awaiting some, Mehta
At this stage if the Court intervenes, it will be preventing us from exercising our statutory right to arrest, Mehta
I request the court to grant my material an exclusion from the accused at this stage of investigation. Evidence copy cannot be shared with the accused before filing chargesheet, Mehta
Mehta says evidence cannot be shared with accused before filing of chargesheet. Sibal interjects that he never made the case that accused should be given access to evidence but he should be confronted with it.
Justice Banumathi reminds Mehta that case made on P Chidambaram's behalf was only that the Court should not be presented with evidence that has not been used to confront the accused.
Mehta: ADM Jabalpur was cited... ; Sibal: But, I never made the case that I should be given access to evidence, only said it should be put to me ; Mehta: Dr Singhvi made that argument. This is what happens when two counsel argue for 1 client ; Sibal: Both our arguments were same
This is not a witch-hunt as alleged. We have evidence in our possession and it is cogent evidence, Mehta I'm going a step further to satisfy the Court's conscience as regards authenticity of the documents, Mehta
Mehta hands over a substantially large compilation of case laws to the Court and is reading out precedents to support his argument against disclosure of evidence to the accused ahead of filing of a chargesheet.
I'm going a step further and request the Court to peruse not just the case diary but also material on record, Mehta
SG Tushar Mehta also cites the Supreme Court's judgment in the Bhima Koregaon case on a petition filed by Romila Thapar and Ors.
Mehta points out that in that case too, the case diary was places before the Court.
Bench rises for the day. Solicitor General Tushar Mehta to continue his arguments on behalf of the ED tomorrow at 11.30 am
Orders in Chidambaram's plea seeking anticipatory bail was reserved by the Delhi High Court on January 25 this year. While delivering the verdict on August 20, nearly seven months after reserving it, the High Court observed that a prima facie case was made out. The Court also rejected the argument that the case against Chidambaram was politically motivated.
The INX Media case pertains to the alleged irregularities in the Foreign Investment Promotion Board clearance to INX Media at the time when P Chidambaram was the Finance Minister. It is the case of the Central Bureau of Investigation (CBI) and the Enforcement Directorate (ED) that P Chidambaram and his son Karti Chidambaram received illegal gratification from INX Media owners, Peter and Indrani Mukherjea for the clearance.
The Supreme Court bench of five judges, hearing the Ramjanmabhoomi-Babri Masjid case, sought on Thursday clarification on three points from one of the Hindu parties arguing against the Allahabad High Court verdict in the case.
The bench, led by Chief Justice Ranjan Gogoi, posed the questions to senior advocate PN Mishra, the advocate of the Ram Mandir Revitalisation Committee – whether the existence of a mosque can be negated, whether the structure existing was a mosque and that could a King appoint waqf from the wealth of the state or he would have to buy it first. The bench also comprises justices SA Bobde, DY Chandrachud, Ashok Bhushan and SA Nazeer.
On his part, Mishra claimed that Quran does not permit building of the mosque on a disputed land nor on a piece of land where another structure existed. Also, he argued, that it has not been proved as to who constructed the disputed structure, Babur or Aurangzeb.
Muslims, in their case, have heavily relied on two inscriptions, one that was placed at entrance and the other on the pulpit in the mosque. But it is also admitted that these inscriptions were either badly damaged or destroyed during riots in 1934, Mishra submitted.
Justice Bobde intervened to remark that the mosque cannot be wished away. “The mosque stands or stood. There was a structure in the shape of a mosque. There is no dispute about that. Whether it was dedicated for the purpose of mosque is argued. However, that does not take away existence of a mosque,” the judge said.
He went on to say: “Even if the argument that waqf was not created is accepted, the mosque stood or used to stand?” The judge said existence of the structure cannot be denied, despite there being no dedication of the mosque.
He went on to say: “Even if the argument that waqf was not created is accepted, the mosque stood or used to stand?” The judge said existence of the structure cannot be denied, despite there being no dedication of the mosque.
To expand his argument on the structure not being a mosque, as laid down in Quran, Mishra steered away to give an example. AT this senior advocate Rajeev Dhawan, appearing for a Muslim party, objected and asked Mishra to restrict himself to evidence.
Justice Chandrachud too told Mishra to rely on exhibits placed before the HC.
“While Islam prohibits worship of anything apart from Allah, Hinduism says whatever you worship ultimately reaches the same one power. Hinduism in that sense is different, Hindus can worship in a place where namaz is offered,” the judge said.
Mishra then listed out characteristics of a mosque to show that Babri Masjid was not a mosque. “If the construction is in line with Islamic tenets and Islamic law, then only it will be termed as mosque. If it is taken by force it will be his property and go to heirs but waqf board would have no role,” he submitted.
According to Islam, a mosque built at a place after demolishing another place of worship there is not proper. If a person creates a waqf out of illegally acquired property, then it is not a lawful waqf, he argued.
“My lords if someone creates a jyotirlinga, we are not going to accept it; similarly, if mosque is not in accordance with Islam, Muslims will not accept it. It would not be a mosque, it would be Babur’s mansion but not mosque,” the advocate said.
It has been noted that a gold fillet of Mohenjo-daro also signified a standard device (lathe PLUS portable brazier) as proclamation (sangara) of furnace-, metal-work. http://bharatkalyan97.blogspot.in/2015/09/fillets-with-indus-script-hieroglyphs.html?view=mosaic Such a fillet may also have been worn as a proclamation ornament on the forehead. Or, as an honour conferred on the inventor-metals-turner with competence in alloying metallurgical techniques.
https://tinyurl.com/yxpyrbzj The 'spiny-hornedd young bulls' are Indus Script hypertexts read rebus Meluhha kunda'fine gold', singi'ornament gold'. The device normally shown in front of this spiny-horned young bull is a sangaḍa 'composition of parts' of kunda'lathe' PLUS kammata'portable gold furnace' rebus: kunda kammaṭa 'fine gold mint' PLUS sangaḍa'catamaran',sangaha'collection' (of wealth products of metalwork); jangaḍ 'invoiced on approval basis'; jangaḍiyo 'military guard accompanying treasure'.. It appears that the early writing systems of Indus Script and Egyptian hieroglyphs evolved from visual-audio hypertexting. Aha, hyper text transfer protocol called http of 4th millennium BCE !!! The unicorn is a good example. The images evoke the Meluhha sounds kunda singi. The sounds mean 'horned bull', also, 'fine gold, ornament gold'. singhin means 'spiny horn'.
The unicorn signifies a horned bull. The image which is an Indus Script hypertext repeatedly deployed on Indus Script Corpora, dominates the Ishtar Gate of Babylon and might have signified a Gold Standard to the participants of Ishtar Festival Processions of 6th cent. BCE, carrying hypertexts or hyperimages (utsava bera). The idea of the procession with 'unicorn' is also seen on Mari frieze. khonda'holcus sorghum' खोंड a variety of jōndhaḷā Holcus sorghum. used as flagstaff !!! konda'furnace'kunda'fine gold'. I have presented/discussed 8000 inscriptions on 1) Epigraphia Indus Script, 3 vols. 2) Updates in Wealth Accounting System for a Nation -- Indus Writing.
The Indus-Sarasvati Connect to Bengal and North East India
April 15, 2018
The migration of Indus-Sarasvati people to Eastern India and the longest connect of two Civilisations through a common art!!
“Terracotta Mother Goddess artof Indus-Sarasvati Civilization & Terracotta Tepa Putulartof Bengal and North East are connected even after 6000 years…”
Some intriguing excavations from the Indus-Sarasvati Civilization has been a set of terracotta female figurines. One out of the many such discoveries definitely is the very enigmatic and also called “The Mother Goddess”!! This particular sculpture could support at least two theories:
a) The figurine seems to be an abstract art of that period. Or
B) The depicted female (or such clan) is definitely not from this world.
(Own Pic – National Museum)
The reason for calling it an abstract art is simply because the Indus-Sarasvati Civilization has certainly thrown out extraordinary artefacts during various excavations including many terracotta potteries, other well defined terracotta human and animal figurines including various models of agricultural techniques, sand stone sculpture of “The Priest”, the red sandstone “Bust of a headless man”, many bronze artefacts including “The Dancing Girl” and “The man in the bullock cart”. The skill levels of these sculptures are remarkable and this can be further validated from the numerous complex seals which has been unearthed. The script although remains indecipherable for long unless we excavate a rosette stone or some reference somewhere else!! All these discoveries along with various excavated towns and exquisitely polished granite pillars definitely demonstrates a very advanced Civilization and hence an abstract art format is a strong possibility.
(Own Pic – National Museum)
The second theory could be true as well. Which is, that, this particular lady had alien features. If you observe closely she seem to have three eyes!! The facial structure is unusual with extremely large ears, beak like nose and the head has peculiar protuberance, as if a bunch of matted hair has been pulled up to make a head gear. The other female figurines representing the same race/clan are equally mystical. While a contemporary female face excavated has well defined facial structure, eyes, ears and nose, albeit with a similar hair style!! However this theory will remain challenged forever for obvious reason!
(Own Pic – National Museum)
The numerous Indus-Sarasvati excavations of female figurines confirms that this is certainly a distinctive format of art depicting an abstract style from Indus-Sarasvati Civilisation (ignoring the unusual facial features).
(Own Pic – National Museum)
Now let’s travel zippy 6000 years to current time and take a look at some small towns in Bengal, Assam and North Eastern India. There is a traditional art of making unique terracotta dolls even today, called “Tepa Putul” or pressed/pinched form of making clay dolls. These dolls are strikingly similar to the terracotta female figurines from Indus-Sarasvati Civilization (see pics).They are almost identical in all aspects including the head gear, beak like nose and large ears, clearly establishing the possibility of a strong link with the Indus-Sarasvati people and Eastern India, especially undivided Bengal and Assam. Even today if I give some moulding clay or kneaded dough and ask my grandmother to make a doll she will make an exact replica of Indus-Sarasvati terracotta females. “Tepa Putul” art remained in the genes of Bengal and North East India since ancient days. This format of art is almost lost now and is restricted to a few small towns of West Bengal, Bangladesh, Asharikandi in Dhubri (Assam), Tripura and may be few North Eastern states. Asharikandi however is the only town which still carries the tradition with a very strong commitment. Even today Poila Boishakh or Bihu, the New Year of Bengal and Assam has glimpses of “Tepa Putul” art in some home made sweets.
(Pic source- Internet)
These terracotta clay figurines can certainly corroborate that the people from Indus-Sarasvati Civilization (Indus Valley Civilisation) may have migrated to far eastern part of India in search of a similar environment, when for some mysterious reason their habitat was getting hostile. The many mighty rivers of Bengal and the North East with abundant clay beds could have attracted these people from such a super advanced Civilization to settle down and pass the tradition of terracotta clay figurines…..even though the humans depicted in this art format looks completely different from normal humans!!
(Pic source – Internet)
What matters most is that even after 6000 years, the far Eastern India have a connect with one of the most ancient advanced Civilization. We cannot call the Indus-Sarasvati Civilization a lost Civilization anymore….Thanks to “Mother Goddess”!!
-- Greek, Kharoṣṭhī names of Apollodotus and Maues together with Indus Script hieroglyphs of elephant, zebu on 2nd cent. BCE coins
Indus Script hieroglyphs of elephant and zebu occur on ancient coins of Apollodotus and Maues occur together with Greek and Kharoṣṭhī legends of their names.
These evidences of coins of 2nd cent. BCE demonstrate that Indus Script was used to display the wealth produced in mints, while Greek-Kharoṣṭhī scripts were used to signify the names of the issuers of coins.
The evidence proves the continued use of Indus Script together with syllabic scripts. Syllabic scripts were used to signify names, while Indus script was continued to be used to signify wealth resources using hieroglyphs such as elephant, zebu. Rebus readings of these Indus Script hieroglyphs are:
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.
Maues, AE hemi-obol Weight: 8.89 gm. Dimensions: 24 x 24 mm Die axis: 12 o'clock Elephant walking right, with raised trunk, within rectangular dotted border, Greek legend around: BAΣIΛEΩΣ BAΣIΛEΩN MEΓAΛOY MAYOY Humped bull standing right, monogram at right, Kharoshthi legend around: rajatirajasa mahatasa moasa Reference: MIG 735, Sen 14.1
"The Scythians or Sakas were originally a nomadic people from Central Asia who made their way into Bactria in the second century BCE. It is likely it is they who were responsible for the burning of Ai-Khanoum in what is now northern Afghanistan around 150 BCE. Maues was a king of this tribe who appears to have conquered territory in Kashmir and then acquired control of the area around Taxila in the Punjab. At this point, the Scythians were perhaps not as distinct from the Greeks as might be imagined, as considerable inter-marriage was probably taking place. There is a coin telling us that the so-called "Indo-Greek" king Artemidoros was the son of Maues. We also see this inter-mingling in the fact that most of Maues's coin types follow Greek prototypes. The date of Maues is still not entirely clear.The traditional dates are c. 90-60 BCE, but Artemidoros is dated to c. 85 BCE, which suggests Maues should be earlier. "
https://tinyurl.com/y4nt26pc Hieroglyphs and hypertexts of Pasupati seal is a catalogue of work in a mint related to metalwork of blacksmith, goldsmith. Broken part of seal restored. m0304 See Donal B Buchanan's reconstruction of Mohenjo-daro broken Pasupati seal m0304 unambiguous hieroglyphs read rebus as mint metalwork catalog http://tinyurl.com/hoq2t3e Mirror: http://bharatkalyan97.blogspot.com/.../donal-b-buchanans... See Indus Script hypertext, sāṅgaḍaṇēṃ v c (सांगड) To link, join, or unite together (boats, fruits, animals). 2 Freely. To tie or bind up or unto.सांगड sāṅgaḍa m f (संघट्ट S) A float composed of two canoes or boats bound together: also a link of two pompions &c. to swim or float by. 2 f A body formed of two or more (fruits, animals, men) linked or joined together.Rebus: sangaha 'collection' (of metalwork products). Rebus reading of the ‘face’ glyph: mũhe ‘face’ (Santali) mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.) kaula mengro ‘blacksmith’ (Gypsy) mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) The Sanskrit loss mleccha-mukha should literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix. Buffalo signified by buffalo horn: rango 'buffalo' rebus: rango 'pewter' Rebus reading of rim-of-jar sign PLUS splinter (leftmost sign): sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) PLUS 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) karNI 'Supercargo'. Thus, cargo handed/accounted from workshop account to supercargo. Haystack style hairdress linked with buffalo horns: kuntam 'haystack' rebus: kunda 'fine gold'.. Thus, the hairdress signfies pewter PLUS fine gold. The seated person wears waist-belt: kamarasa_la = waist-zone, waist-band, belt. కమ్మరు or కమరు kammaru. [Tel.] n. A girdle. మొలనూలు.కమ్మరము kammaramu[Tel.] n. Smith's work, iron work. కమ్మరవాడు, కమ్మరి or కమ్మరీడు kammara-vāḍu. n. An iron-smith or blacksmith. బైటికమ్మరవాడు an itinerant blacksmith. Thus kammarasala reads rebus: smith's workshop. The seated person wears wristelets: karã̄ n. pl. wristlets, bangles Rebus: khār खार् 'blacksmith'. Platform on which the person in penance is seated: pāṭa ʻthroneʼ rebus फड phaḍa 'metals manufactory guild', పట్టడ paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop.kamaḍha 'penance',Rebus:kammaṭa 'mint, coiner' Two antelopes on platform: dula 'pair' rebus: dul 'metal casting' PLUS ranku 'antelope' rebus: ranku 'tin'. Thus, mint with tin-ore working, tin metalcasting.(Alternative: meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.); thus iron working in mint). The platform is a plank atop a pair of haystacks. Indus Script hypertexts of the bottom register: polā 'haystacks'rebus: polā 'magnetite, ferrite ore'. The plank or slab of the platform is pāṭa ʻ plain, throne ʼ (Oriya), paṭṭa rebus: फडphaḍa 'metals manufactory guild'. miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) PLUS dula 'pair' rebus: dul 'metal casting'. Thus, iron castings.. kũdā kol (tiger jumping) rebus: kunda 'fine gold' kol 'working in iron/' kolhe 'smelter' kole.l 'smithy, forge'; karibha, ibha 'elephant' rebus: karba, ib iron' PLUS gaṇḍa 'rhinoceros'; rebus:khaṇḍa 'tools, pots and pans' PLUS rango 'water buffalo' Rebus: rango ‘pewter’. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali). Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10567).
Hypertext: shoggy face with brisltles of hair on the face of the person: 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.) id. (Santali)
Face:muhã ʻ face, mouth, head, person ʼRebus:mũhã̄ 'the quantity of iron produced at one time in a native furnace' Bi. mũh ʻ opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing) ʼ(CDIAL 10158).
muhã ʻ face, mouth, head, person ʼ Three faces are read rebus: mũhã̄ 'the quantity of iron produced at one time in a native furnace' PLUS kolom 'three' rebus: kolimi 'smithy, forge'. Thus, the three faces signify iron of a smithy/forge.
Text message: aya 'fish' rebus: ayas 'alloy metal' PLUS kanda kankha 'rim of jar' rebus: kanda karni 'equipment supercargo, scribe' PLUS ḍato 'claws or pincers (chelae) of crabs'; rebus: dhatu 'mineral ore' PLUS Ta. koṭiṟu pincers. Ma. koṭil tongs. Ko. koṛ hook of tongs. / Cf. Skt. (P. 4.4.18) kuṭilikā- smith's tongs.(DEDR 2052) Rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin) 'bronze'.
Sign1 of Indus Script (1977 ASI Concordance) Standing person, body, spread legs.
mē̃ḍ 'body' rebus: mē̃ḍ ‘iron’ (Mu.) PLUS कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic determinant) Rebus: कर्णिक karNika 'helmsman', karNI 'scribe, account''supercargo'.
T symbol signifies a Meluhha hieroglyph read as: sã̄ca साँच 'mould, matrix'. T symbol thus signifies the metallurgical operation of a mould to create the ingot castings of copper and tin. Oxhide ingots are found in Geldonya shipwreck both of copper and tin ore.
T symbol on ox-hide ingot (in the middle) from Cape Gelidonya shipwreck. Copper ox-hide ingots (Talents) After Fig. 5 on http://ina.tamu.edu/capegelidonya.htm
📷T symbol on an ox-hide ingot http://narnia-itn.eu/projects/the-production-and-trade-of-cypriot-copper-in-the-late-bronze-age-and-early-iron-age/
Rehman Dehri Rhd 1 and Mohenjo-daro m1186 narrative hieroglyphs signify metalwork wealth-accounting ledgers https://tinyurl.com/yyvb2bpx After Fig. 13 in Patricia Duff, opcit. Seal Rhd1A depicted as the wearer would see it. (c) Parpola, A. and Shah,S.G.M., 2010, Corpus of Indus seals and inscriptions, III, Collections outside Pakistan and India, Finland, UNESCO Rehman Dehri seal signifies a T hieroglyph which also appears on oxhide ingots. Mohenjo-daro seal m1186 is a detailed narrative with pictorial motifs and a text message related to metalworkers and helmsmen working on bagala boat. The monograph has two annexes to explain the two unique hieroglyphs -- T hieroglyph and harrow hieroglyph, signified on oxhide ingots:Annex A Hieroglyph T on Rhd1A seal; Annex B Harrow hieroglyph on ingots.
T symbol which appears on ox-hide ingots of the shipwrecks (Cape Gelidonya and Uruburun) is an Indus Script hieroglyph. The hieroglyph T symbol appears in a catalogue of metalwork on a Rehmandehri carved ivory pendant together with hieroglyphs of: frog, and two scorpions (on side A) and two markhors (on side B).Rehman Dehri pendant seal 1A, B. The rebus reading is: dul bica 'cast haematite, ferrite ore' PLUS sã̄ca साँच 'mould, matrix' PLUS mūxā 'frog'.rebus: mũha 'ingot' mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes. On the obverse, two markhors rebus: miṇḍāl ‘markhor’ rebus: mẽṛhẽt, meḍ 'iron';med 'copper. Thus, copper and iron ingots are accounted for by the Rehman Dehri inscription.
T symbol appears on both sides of the Rehman Dehri ivory pendant.
“The T and Double T symbols are usually impressed and most often appear on the rough side of Type 2 ingots. These marks were then made during the cooling of the metal with some form of stamp or brand in these shapes…Geographical distribution analysis places these two marks predominantly in the same regions. The majority of both T and Double T marks are from the Uluburn and Cape Gelidonya shipwrecks. On land, T marks appear at Enkomi (Cyprus) and Ozieri (Sardinia), Double T marks appear at Mycenae (Greece) and three sites on Sardinia (Teti, Nuragus, and Capoterra). This data, especially the prominence of these marks on Sardinia, indicates a possible connection between these symbols and ingots sent to the western areas of the Mediterranean.” (Kaiser, AlainaM.2013, p.39).
Indus Script hypertext mōri 'peacock' rebus moraka 'steel', Rāṣṭrī, R̥gveda is Peacock Angel Melek Taus of Yazidi-s
https://tinyurl.com/y7p3kcok Peacock is venerated by Yazidis. Peacock is also venerated on the bronze artifacts of Vatican. Both symbols of veneration are related to the ancient Bronze Age revolution which provides evidence of working with calcining metal called marakaka, a copper alloy. This is signified by maraka 'peacock' in Meluhha rebus renderings of Indus Script tradition.
A priest applying Sindhur, a Yazidi wearing sindhur on the forehead,
Monumental bronze Peacocks and pinecone adorn the Vatican
These monuments trace back the Peacock Angel go the days of Sarasvati Civilization.
Water installation with bronze pine-cone and peacocks on the top register in the atrium of Old St Peter’s Basilica, Rome. Drawing by Cronaca (1457-1505). Uffizi, Florence, 1572.
Bronze peacocks, together with 11 ft. high pine-cone of bronze in the Vatican are made by Bharatam Janam and Indus Script hieroglyphs.
मोरकम् 1 A kind of steel. मोरक [p= 835,3] n. a kind of steel L. (Samskrtam) Mora [the contracted, regular P. form of *Sk. mayūra, viâ *ma -- ūra>mora. See also Geiger, P.Gr. § 27 & Pischel, Prk. Gr. § 166. -- Vedic only mayūrī f. pea -- hen] a peacock J ii.275 Perhaps also as morakkha "a peacock's eye" at VbhA 63 (morakkhaka loha, a kind of copper, grouped with pisācaloha). It is more likely however that morakkha is distorted fr. *mauryaka, patronymic of mura, a local (tribal) designation (cp. murala), then by pop. etym. connected with mora peacock. With this cp. Sk. moraka "a kind of steel" BR. (Pali) mayūˊra m. ʻ peacock ʼ VS., in cmpds. RV., mayūrīˊ -- f. ʻ peahen ʼ RV. 2. *mōra -- . 3. *majjūra -- (< *mayyūra<-> with early eastern change -- yy -- > -- jj -- ?). [mayūka -- , marūka -- 1 m. lex. -- J. Bloch BSL 76, 16 ← Drav. (cf. DED 3793); J. Przyluski BSL 79, 100 ← Austro -- as. (cf. also Savara māˊrā ʻ peacock ʼ Morgenstierne); H. W. Bailey BSOAS xx 59, IL 21, 18 connects with Khot. murāsa -- as orig. an Indo -- ir. colour word. -- EWA ii 587 with lit.]1. Pa. mayūra -- m. ʻ peacock ʼ, Pk. maūra -- , maūla -- m.; Sh. (Lor.) maiyūr m. ʻ cock munāl pheasant ʼ; A. mairā ʻ peacock ʼ, B. maür, maur, Or. maïram., °rī f., Si. mayurā, miyurā.2. Pa. mōra -- m., mōrinī -- f., Aś.gir. mora -- , Pk. mōra<-> m., °rī -- f., K. mōr m., S. moru m., L. P. mōr m., Ku. Mth. Bhoj. mor, OAw. mora m., H. morm., °rī, °rin f., OMarw. moraḍī f., G. M. mor m., Si. mōrā; <-> H. (dial.) mhor, murhā m., Ko. mhōru.3. Aś.shah. man. majura -- , kāl. majula -- , jau. majūla -- , N. majur, mujur, Or. (Bastar) mañjura, OAw. maṁjūra m., Si. modara, monara.*mayūrapakṣala -- .Addenda: mayūˊra -- : WPah.kṭg. (kc.) mōr ʻ peacock ʼ.(CDIAL 9865)
Melek Taus also known as Azazel "was the Master of Metals and Minerals. In "Genesis of the Grail Kings", Laurence Gardner says this: "It is said in Enoch that Azazel made known to men 'all the metals and the art of working them...and the use of antimony' (otherwise known as stibium [Sb] Element No. 51)...The cuneiform symbol is the number 2 beloe, in Archaic Cuneiform style, dating 2,500 B.C. and means God, Heaven. (Note that it looks more like a brightness, a star)."
Yazidi may be a derivation from Old Iranian yazata (divine being). An important festival is the ṭāwusgerrān (circulation of the peacock) where qawwāls and other religious dignitaries visit Yazidi villages, bringing the senjāq, sacred images representing the peacock and associated with Malak Ṭāʾus.http://www.iranicaonline.org/articles/yazidis-i-general-1 The word
senjāq is cognate with a metallurgical word : sañcaka m.n. ʻ mould, figure ʼ Naiṣ. [Sanskritization of MIA. *saṁcaa -- < saṁcaya -- (moulds being made in mounds of earth LM 418) is unlikely in view of A. B. Or. < *sañca -- , P. < *saccaa -- , WPah. < *śacca -- ]P. sañcā, saccā m. ʻ mould ʼ, WPah.bhad. śeccu n., Ku. N. sã̄co, A. xã̄s, B. sã̄c, chã̄c, Or. chã̄ca, Bi. H. sã̄cā m. (→ P. sã̄cā m., S. sã̄co m., K. sã̄ca m.), G. sã̄cɔ m.; M. sã̄ċā m. ʻ mould, quantity cast in a mould ʼ. Kur. xajj earth, mould, clay, mud, corpse. Malt. qaju earth, mud. Te. cēnu (pl. cēlu) field; (Inscr.) kayya a rice-field; kaili field (DEDR 1958) Addenda: sañcaka-- [~ Drav. DED 44](CDIAL 13396). See:
Ur III Sumerian cuneiform for the sky god An (and determinative sign for deities see: DINGIR) in ancient sumerian religion and also in the symbol of Melek Taus.
Yazidis live far away from India in Iraq, Iran and Turkey. Even though they have legends connecting them to the east, the idea of a link with India appears ridiculous at first sight. But history has wheels within wheels and sometimes reality turns out to be vastly different from common belief.
The Yazidi speak a northern dialect of the Kurdish language, which some call a separate language with the name Ezdiki. Their religion, Yazidism, is also called Sharfadin (the religion of the cultured folks). Reviled as devil worshipers for centuries by their Muslim and Christian neighbors, they have endured over 70 genocides in which millions died and most others were compelled to abandon their culture.
The Yazidis were denounced as infidels by al-Qaeda in Iraq who sanctioned their indiscriminate killing. In 2007, a series of coordinated car bombs killed nearly 800 of them.
The Islamic State began a campaign of destroying their cities and villages in 2014. It murdered nearly 3,000 of them, abducted 6,500, and sold 4,500 Yazidi women and girls into sexual slavery. Many of the abducted girls committed suicide. Nadia Murad, the Yazidi human rights activist and 2018 Nobel Peace Prize winner, was kidnapped and used as a sex slave.
Here I want to speak of the lesser known connections between the Yazidis and Indians. We are not speaking here of the links through the overarching Indo-Iranian language family, but even there it should be noted that in this family the earliest node on the Iranian side is Avestan, which is literally identical to Vedic Sanskrit, and so the family should really be called the Vedic family, of which Indo-Aryan and Iranian are two daughters. These two subfamilies are connected in multiple ways through shared notions and history [1].
In the second millennium BCE, we have the Mitanni of Syria worshiping Vedic gods. Even prior to that in the third millennium BCE, the figure of Paśupati(Lord of Animals), an epithet of the Hindu deity Śiva, is seen in the famous eponymous seal of the Sarasvati-Sindhu Civilization, a memory of which was retained in the Indic groups who lived across Central Asia. Śiva’s son Skanda(also known as Murugan or Kārtikeya), the general of the gods, is associated with the peacock, and that is the main symbol of the Yazidis.
12th century image of Skanda from Andhra Pradesh
Vedic gods in West Asia
The Mitanni ruled northern Mesopotamia (including Syria) for about 300 years, starting 1600 BCE, out of their capital of Vasukhāni[2]. In a treaty between the Hittites and the Mitanni, Indic deities Mitra, Varuṇa, Indra, and Nāsatya (Aśvins) are invoked. Their chief festival was the celebration of viṣuva (solstice) very much like in India. It is not only the kings who had Sanskrit names; a large number of other Sanskrit names have also been unearthed in the records from the area.
The list of the Sanskrit names used in Syria and elsewhere was published by P. E. Dumont of the Johns Hopkins University, in the Journal of American Oriental Society in 1947, and one may see a summary of that in my own book chapter on Akhenaten, Sūrya, and the Ṛgveda[2]. The names of the main kings are (with the standard Sanskrit form or meaning inside brackets): The first Mitanni king was Sutarna I (good Sun). He was followed by Baratarna I (Paratarṇa, great Sun); Paraśukṣatra (ruler with axe); Saustatar (Saukṣatra, son of Sukṣatra, the good ruler); Paratarṇa II; Artadama (Ṛtadhāman, abiding in cosmic law); Sutarṇa II; Tushratta (Daśaratha or Tveṣaratha, having ten or fast chariots); and finally Matiwazza (Mativāja, whose wealth is thought), during whose lifetime the Mitanni state became a vassal to Assyria.
Across India, Iran and West Asia in the ancient world, the worshipers of Veda were called Devayājñi (or Devayasni), or deva-worshiper, of which the terms Sanātana Dharma or Vedic Dharma are synonyms. The name by which the Zoroastrians call their own religion is Mazdayasna (Sanskrit, medhā-yajña), or the religion of Ahura Mazda (Sanskrit Asura Medhā, Lord of Wisdom). Zarathushtra presented his religion as rival to the religion of the devas (spelt now as daeva in Avestan), that is Devayasna. One can assume that before Zarathushtra, the Indo-Iranian speakers in West Asia were all Devayasni.
Devayasni worship
The Yazidis call themselves Daseni (Dawasen, pl.) which is the same as Devayasni, which confirms what we know from the Mitanni records about the history of that period. The word Yazidi is cognate with Sanskrit yajata(worthy of worship) which in Old Persian (and Kashmiri) is yazata[3],[4].
According to their folklore, the Great Flood compelled Yezidis to disperse to many countries including India, and they returned from these adoptive countries around 2000 BCE. From archaeological record, the most plausible spread of Devayasna from India took place about 1900 BCE, soon after which Vedic gods begin to be mentioned in Mesopotamia and Syria. Zarathushtra came from Bactria near Afghanistan and his new religion split the deva-worshiping communities in the West from the ones in India. The 4,000-year estimate of the Yazidis on when they returned from India is consistent with this figure.
After the rise of Zoroastrianism, Devayasna survived for a pretty long time in West Asia. The evidence of the survival comes from the deva- or daiva-inscription of Iranian Emperor Xerxes (ruled 486–465 BC) in which the revolt by the deva worshipers in West Iran is directly mentioned. Xerxes announces[5]: “And among these countries there was a place where previously daiva [demons] were worshiped. Afterwards, by the grace of Ahuramazda, I destroyed that sanctuary of daiva, and I proclaimed: The daiva shall not be worshipped!” This, nearly 2,500 years ago, is an early record of the persecution suffered by the Devayasni, the ancestors of the Yazidis. This accusation of demon or devil worship was repeated later by Christians and Muslims.
Another interesting fact about India of the first millennium BCE is the worship of Skanda or Karttikeya, the son of Śiva, who is the general to the devas, and whose mount is the peacock. We see the centrality of Siiva and Skanda in the representation of their coins of the first-century Kushana kings in the deities Οηϸο (Oesho, Īśa = Śiva) and Σκανδo koμαρo (Skando Komaro, Skanda Kumara). The rule of the Kushanas extended to regions that border on today’s Yazidi lands.
Skanda with his consorts (Painting by Raja Ravi Varma)
The Yazidi religion
The Yazidis have a rich spiritual tradition and their modern culture goes back to the 12th century leader Shaykh Adi (died in 1162), a descendent of Marwan I, the fourth Umayyad Caliph, whose tomb is in Lalish in Northern Iraq that is now the focal point of Yazidi pilgrimage.
Some believe that Yazidism is a branch of the pre-Islamic, native religion of the Kurds. There are also similarities between the Yazidis and the Yaresan, that extends back in time to the pre-Zoroastrian devayasnic religion of West Asia.
The Yazidis number approximately 800,000, including about 150,000 who have taken refuge in Europe. They describe themselves as believing in one true God, and they revere Taus Melek, the Peacock Angel who is an embodied form (avatar) of the infinite God. Six other angels assist Taus Melek and they are associated with the seven days of creation with Sunday as the day of Taus Melek. The peacock imagery adorns Yazidi shrines and houses of worship, and other places. The attacks on them are a consequence of the Christian and the Muslim belief that the Peacock Angel is Satan or Iblis.
The Yazidi religion is a mystical, oral tradition consisting of hymns (qawls), that are sung by qawwāls. Parts of the tradition have now been transcribed as two holy books called the Kitab al-Jilwa (Book of Revelation) and the Mishefa Reş (Black Book).
Given that many Yazidis claim to have originated in India, the veneration of the peacock may be a memory of this origin. In India, apart from the peacock as the vehicle of Skanda, it is also associated with Kṛṣṇa, who wears a peacock feather in his hair or in the crown. Of the seven colors produced from the primal rainbow, Tausi Melek is associated with the color blue, which is also the color of Kṛṣṇa.
Through his manifestation as a snake, Taus Melek is consistent with the perspective of the yogis of India, for whom the serpent on the tree is a metaphor for the inner serpent (kundalini) that coils around the spine.
Yazidis pray in the direction of the sun, excepting for the noon prayer which is in the direction of Lalish. They believe in reincarnation and they take it that the angels (with the exception of Taus Melek) have been incarnated on earth as holy people or saints. Just like the Hindus, they use the metaphor of a change of garment to describe the process of rebirth.
Like other Indo-European cultures, the Yazidi society is tripartite, with the three classes of shaykh (priests), pir (elders), and murid (commoners) and they marry only within their group. Their society does not allow conversion. The shaykhs are divided into faqirs, qawwals, and kochaks. The secular leader is a hereditary Mīr or prince, whereas Bābā Shaykh heads the religious hierarchy.
The Yazidi calendar goes back to 4750 BCE. It appears that this is connected to Indian king list that goes back to 6676 BCE, which is mentioned by the Greek historian Arrian in his account of Alexander’s campaign. (More on this is in my book The Astronomical Code of the Ṛgveda.)
During the New Year celebration, bronze lamps crowned with peacocks, called sanjaks, which are similar to the bronze peacock ārati-lamps, are taken from the residence of the Mīr in a processional by the qawwals through the Yazidi villages. It is believed that the sanjaks came from India, and originally there were seven, one for each of the Seven Sacred Angels, but five were taken away by the Turks, and now only two remain.
The Yazidis are a symbol of mankind’s indomitable will. As a persecuted people in world history, they deserve praise and support for their courage and bravery in the face of the greatest odds.
2. S. Kak, Akhenaten, Sūrya, and the Ṛgveda. In G.C. Pande (ed.), A Golden Chain of Civilizations: Indic, Iranic, Semitic, and Hellenic up to C. 600. (2007)
What do the contents of Thol Kappiyam, the first Tamil publication reveal? What is it based on? Where did Tamil originate? Its relationship with the word Dravida. A must watch!
karaṇaकरणA writer, जज्ञे धीमांस्ततस्तस्यां युयुत्सुः करणो नृप Mb.1.115. 43; Ms.1.22; Business, trade. As Indus Script hypertext, elephant trunk signifies: karibha, ibha'elephant' rebus karba,ib'iron'. I submit that Gaṇeśa signifies iron trade. Hence, his appearance in Bhimaswarga (Indonesian Java version of Mahābhārata) rendered in sculptural frieze of Candi Sukuh together with Bhima as 'smith' and Arjuna as 'bellows blower'.
गण m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or attendants RV. AV.; troops or classes of deities (especially certain troops of demi-gods considered as शिव's attendants and under the special superintendence of the god गणे*श ; cf.-देवता) Mn. Ya1jn5. Lalit.; a company , any assemblage or association of men formed for the attainment of the same aims Mn. Ya1jn5. Hit. (Monier-Williams)
gaṇḥ गणः [गण् कर्मणि कर्तरि वा अच्] 1 A flock, multitude, group, troop, collection; गुणिगणगणना, भगणः -2 A series, a class. -3 A body of followers or attendants. -4 Particularly, a troop of demigods considered as Śiva's attendants and under the special superintendence of Gaṇeśa, a demigod of this troop; गणानां त्वा गणपतिं हवामहे कविं कवीनाम् &c.; गणा नमेरुप्रसवावतंसाः Ku.1.55,7.4,71; Me.35.57; Ki.5.13. -5 Any assemblage or society of men formed for the attainment of the same objects. -6 A company, association. -7 A tribe, class. -8 A series of lunar mansions classed under three heads (of god, men and demons). -9 A sect (in philosophy, religion). -1 A small body of troops (a sub-division of अक्षौहिणी), consisting of 27 chariots, as many elephants, 81 horses and 135 foot; Mb.1.2.21. -11 A number (in math.). -12 A foot (in prosody). -13 (In gram.) A series of roots or words belonging to the same rule and called after the first word of that series; e. g. भ्वादिगण i. e. the class of roots which begin with भू. -14 An epithet of Gaṇeśa. -Comp. -अग्रणीm. N. of Gaṇeśa. -अचलः N. of the mountain Kailāsa, as the residence of the Gaṇas of Śiva. -अधिपः, -अधिपतिः 1 N. of Śiva; Śi.9.27. -2 N. of Gaṇeśa. -3 the chief of a troop of soldiers or of a class of disciples, of a body of men or animals. -अन्नम् a mess, food prepared for number of persons in common; Ms.4.29,219. -अभ्यन्तरa. one of a troop or number. (-रः) the leader or mem- ber of any religious association; Ms.3.154. -ईशः N. of Gaṇapati, Śiva's son (see गणपति below). ˚जननी an epithet of Pārvatī. ˚भूषणम् red-lead. -ईशानः, -ईश्वरः 1 an epithet of Gaṇeśa. -2 of Śiva. -उत्साहः the rhinoceros. -कारः 1 a classifier. -2 an epithet of Bhīmasena. -कृत्वस्ind. for a whole series of times, for a number of times. -गतिः a particular high number. -चक्रकम् a dinner eaten in common by a party of virtuous men. -छन्दस्n. metre regulated and measured by feet. -तिथa. forming a troop or collection. -दीक्षा 1initiation of a number or a class. -2 performance of rites for a number of persons. -दीक्षिन्a.1 one who officiates for a number of per- sons or for various castes (as a priest). -2 one who has been initiated into the worship of Ganeśa. -देवताः (pl.) groups of deities who generally appear in classes of troops; Ak. thus classifies them :-आदित्यविश्ववसव- स्तुषिता भास्वरानिलाः । महाराजिकसाध्याश्च रुद्राश्च गणदेवताः ॥ -द्रव्यम् 1 public property, common stock; Y.2.187. -2 a variety of articles. -धरः 1 the head of a class or number. -2 the teacher of a school. -नाथः, -नाथकः 1 an epithet of Śiva. -2 of Gaṇeśa. -3 the leader of the attendants of any god; Bhāg.5.17.13. -4 the head of an assemblage or corporation; Bṛi. S.15.4. -नायिका an epithet of Durgā. -पः, पतिः 1 N. of Śiva. -2 N. of Gaṇeśa. [He is the son of Śiva and Pārvatī, or of Pārvatī only; for according to one legend, he sprang from the scurf of her body. He is the god of wisdom and remover of obstacles; hence he is invok- ed and worshipped at the commencement of every important undertaking. He is usually represented in a sitting posture, short and fat, with a protuberant belly, and four hands; riding a mouse; and with the head of an elephant. This head has only one tusk, the other having been lost in a scuffle between him and Paraśurāma when he opposed the latter's en- trance to Śiva's inner apartments; (whence he is called Ekadanta, Ekadaṁṣṭra &c.). There are seve- ral legends accounting for his elephant head. It is said that he wrote the Mahābhārata at the dictation of Vyāsa who secured his services as a scribe from the god Brahman]. -3 also an epithet of Bṛihas- pati and Indra. -4 the leader of a class or troop. -पर्वत see गणाचल. -पाठः a collection of gaṇas or series of words falling under the same grammatical rule. -पीठकम् the breast, bosom. -पुङ्गवः the head of a tribe or class. (pl.) N. of a country and its people; Bṛi. S.4.24. -पूर्वः the leader of a tribe or class; (ग्रामणी); Mb.13.23.2. ˚तापनी N. of a Upaniṣad. -भर्तृm.1 an epithet of Śiva; गणभर्तृरुक्षा Ki.5.42. -2 N. of Gaṇeśa. -3 the leader of a class. -भोजनम् mess, eating in com- mon. -यज्ञः a rite common to all. -रत्नमहोदधिः a collection of grammatical gaṇas by Vardhamāna. -राज्यम् N. of an empire in the Deccan; Bṛi. S.14. 14. -रात्रम् a series of nights. -वल्लभः a general of the army (सेनानायक); Rām.2.81.12. -वृत्तम् see गणच्छन्दस्. -हासः, -हासकः a species of perfume.(Apte)
Uma-Maheśvara from Nepal Dated: 11-12th century CE Gaṇa(s) are shown dancing along with Gaṇapati(Gaṇeśa). Marut-gaṇa including Gaṇeśa (third from left) & Varāha (fourth from left) on a sculptural panel. Kailasanatha Temple,Kanchipuram.