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Shamash 'Sun'& Sit Shamshi 'bronze sunrise' derive from षष् + अशीतिमुख, six passages of the Sun into zodiacal signs to signify six seasons

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The objective of this monograph is to demonstrate that Shamash 'Sun divinity' (ANE) is derived from Suryasiddhanta reference to ष़डशीतिमुख, six passages of the Sun into zodiacal seasons to signify six seasons 

This is an addendum to: Shamash, sun divinity of ANE 3rd m. BCE is derived from  six seasons linked to Sun's passage into 6 zodiacal signs https://tinyurl.com/yxfccy5o

RV 1.28.5 refers to Vedamãso; Sāyaṇa interprets this as a reference to the 13th intercalary month to fuse the solar and lunar calendars. The word  -मास 'a month or the 12th part of the Hindu year (there are 4 kinds of months , viz. the solar , सौर ; the natural , सावन ; the stellar , नाक्षत्र , and the lunar , चा*न्द्र ; the latter , which is the most usual and consists of 30 तिथिs , being itself of two kinds as reckoned from the new or full moon cf. IW. 179 ; for the names of the months » ib. 173 n. 3RV. &c (मासम् , for a month ; मासम् एकम् , for one month ; मासेन , in the course of a month ; मासे , in a month = after the lapse of a month)'(Monier-Willisms) 

मास is thus a Vedic word which refers to a calendrical tradition. It is suggested that the expression Shamash in ANE as a reference to Sun Divinity is derived from षष् + मास = Shamash 'Six months'. In this expression, षष् is relatable to the Suryasiddhanta reference षड्-शीति-मुख the passage of the sun into zodial signs to signify the six seasons.

ṣaḍaśīti ʻ 86 ʼ Sūryas.Pa. chaḷāsīti -- , Pk. chalasīiṁchāsīiṁ, K. śĕyĕśīth, S. chahāsī, L. cheāsī, P. chiāsī, N. chiyāsi, A. sayāxi, B. chiyāsi, Or. chayāasi, Bhoj. Aw.lakh. chiāsī, H. chiyāsī, G. chāsī, M. śahã̄śīśeẽśīśāyśī˜.(CDIAL 11793)aṇmāsa m. ʻ period of six months ʼ VarBr̥S. [ṣáṣ -- , māˊsa -- ]A. samāh ʻ half a year ʼ, OM. sāmāsa; M. samaskī f. ʻ a cow that has a calf every year and so is in milk for six months ʼ.(CDIAL 12801) ṣaṇmāsika ʻ half -- yearly ʼ Mn. [Cf. ṣáṇmāsya -- ʻ six months old ʼ Kāṭh., n. ʻ period of six months ʼ Gr̥Śr. <-> ṣaṇmāsa -- ]Pk. chammāsiya -- , chamā˚ ʻ lasting six months ʼ, S. chamāhī˜ f. ʻ six -- monthly pay ʼ, P. chimāhī f.; A. samahiyā ʻ six months old, lasting six months ʼ, Or. chamāsiā; G. chamāsī ʻ occurring after six months ʼ; M. sāmāśī ʻ six -- monthly ʼ, f. ʻ cow that gives milk for six months ʼ; Si. hamas -- mā̤ ʻ the bean Dolichos sesquipedalis ʼ. (CDIAL 12802) ṣáṣ -- , nom. ṣáṭ ʻ six ʼ RV. 2. *ṣuvaṭ. 3. *kṣaṭ or *kṣvaṭ.1. Aś.kāl. ṣaṣu loc. pl., iDoc. ṣo (whence 
ṣodhama ʻ sixth ʼ), Gy. pal. šas ( -- s?), Ḍ. ṣa, Paš.lagh. x̌e, shut. ṣä, nir. dar. weg. e_, Kand. ṣā, Sh.gil. ṣa, gur. jij. pales. ṣah, K. śĕśĕh, rām. pog. kash. śĕ, ḍoḍ. śăh, WPah. bhad. śāh, bhal. śāˋ (śeiaũ ʻ sixth ʼ).2. Gy. eur. šov, Ash. ṣu, Wg. Kt. ṣū, Pr. uṣūwuṣu, Dm. ṣō, Tir. xuọ̈̄, Shum. ṣọo, Woṭ. šō (*šuo in šwoyəm ʻ 6th ʼ), Gaw. uōṣōu, Kal.rumb. ṣɔ, Bshk. ṣuəṣɔ, Tor. ṣōu (ṣōm ʻ sixth ʼ), Niṅg. ṣō, Sv. ṣōuṣū, Mai. šōh, ky. ṣō, Phal. woṣoṣoh, Sh.koh. ṣvā, kōl. ṣua.3. Pa. chachaḷ -- in cmpds., Pk. cha, Ap. chaha, Paš.lauṛ. c̣hā, uzb. nij. ishk. c̣ha, kuṛ. c̣hē, ar. chil. c̣e, Kho. c̣hoi, S. chachīh (chahõ ʻ sixth ʼ), L. chẽchī, khet. chē, P. chechī, WPah.pāḍ. ċhai, paṅ. cur. chē, Ku. chai, N. cha (*chai in chaiṭaũ ʻ sixth ʼ), A. say, B. chay, Or. cha, Mth. chao, OAw. chahuṁ obl., lakh. chā, H. Marw. G. cha, M. sahā, Ko. sa, Si. sa -- , ha -- , sayaha˚. (CDIAL 12803)

Thus, cognates are: sāmāsa (OM) > Shamash (ANE)

-- षष् + ऋतुः (षड्--ृतु  ) of सूर्यसिद्धान्त; which explains six seasons in Hindu calender also yields: Hitt. dšiuš `(sun)god which is cognate with Shamash 'sun divinity' in Ancient Near East in vogue since 3rd millennium BCE. (Evidence of cylinder seal of Adda, scribe).
Shamash is shown tearing into the mountain ranges with a weapon in his hand. Cylinder seal ca. 2300-2200 BCE (BM 89115). See: https://tinyurl.com/yxfccy5o

तुलादे: षडशीत्यंशै: षडशीतिमुखं दिनं
भचतुष्टयमेवं स्याद द्विस्वभावेषु राशिषु
षडविंशे धनुषो भागे द्वाविंशेsतिमिनस्य च
मिथुनेs ष्टादशे भागे कन्यायां च चतुर्दशे
[सूर्य सिद्धांत – मनध्याय (Surya Siddhanta, Manadhyāya -Chapter 14:4-5)]  
I think the key is to understand the significance of the expressions षडशीतिमुखं and षडशीत्. in: तुलादे: षडशीत्यंशै: षडशीतिमुखं दिनं भचतुष्टयमेवं स्याद द्विस्वभावेषु राशिषु  and identifying cardinal solar points of the solar calendar which define the six seasons.
aśītiḥ अशीतिः f. [निपातोयम् P.V.1.59] Eighty (used in the singular and fem. gender whatever be the number and gender of the noun it qualifies); sometimes in dual and pl.; पिण्डानां तिस्रो$शीतीः Ms.11.22. -Comp. -तम् a. Eightieth. -भागः the eightieth part, one part of eighty; अशीतिभागं गृह्णीयान्मासाद्वार्धुषिकः शते Śi.9.86; Ms.8.14.
There is also a pun on the word अशीतिः | अशीत  signifies numeral 86 and also aśīta अशीत a. 1 Not cold, hot. -2 The eightieth. -Comp. -करः, -रश्मिः &c. the sun. Thus, अशीतिमुख is a metaphor for the Sun and the semantic expansion in the expression षष् + अशीतिमुख signifies the Sun which is the creator of six seasons in the annual calendar. षष् + अशीतिमुख gets the cognate Shamash in Ancient Near East venerated as the Sun Divinity (who is also divinity of justice, morality, and truth) and celebrated in the exquitely crafted Sit Shamshi Bronze -- also associated with the Veda sacred fire-prayers. See:

Bronze sunrise Sit Shamsi of Susa is visual image of Veda sacred fire-prayers signified by काण्डर्षितर्पण oblations to ancestor equipment makers  https://tinyurl.com/y5gwp44

I found this enote of elucidation by W.. Brennand, in reference to अशीत " the eightieth " » अर्वाग्-शीत्/अ (Monier-Williams), i.e. the 86 days count specified by सूर्यसिद्धान्त :

[quote]The Solar Mana is that by which are determined the lengths of day and night, the Shadasiti-Mukhas, the solstitial and equinoctial times and the holy days of Sankranti on which good actions bring good desert to the performer. Verses from (4) to (6) relate to a peculiar division of time consisting of successive periods of 86 solar days beginning from the time when the sun enters the sign of Libra; the 86th day of each period is called Shadasiti-Mukha, and there are four such days in the year, the first happens when the sun is at 26 of Sagittarius, the second when he reaches 22 Pisces, the third when he is at 18 Gemini, and the fourth at 14 Virgo. The remaining 16 Saura days or degrees of the Saura month, when the sun is in Virgo are sacred, good actions performed in those days confer great merit, equal to that of a sacrifice,  a gift then in honour of deceased ancestors is imperishable. [unquote] (W. Brennand, 1896, Hindu Astronomy, Chas. Straker & Sons, Ltd., Bishopsgate Avenue, E.C., London.)

Shadasheeti divides solar year षडशीतिमुखं 86 days four times every year (86X4 = 344 +16 days) which overlaps the six-fold division of seasons of a year (6 X 60). This is a fusion of seasonal calendar with the solar calendar. This reinforces Suryasiddhanta as the basis for षष्  > Shamash 'Sun divinity' of ANE. 

An intercalary month mentioned in the Rig Veda {Vedamãso dhrutavrato dvãdasha prajãvatah; vedã ya upajãyate. (I/25:8)} is a fusion of solar calendar, seasonal calendar and lunar calendar. Now we know that Surya siddhanta gave the name in 3rd of 4th millennium BCE to Shamash as the Sun divinity.-- Shamash derived from षष् +  mãso (of Suryasiddhanta and RV time reckoning)


Griffith translation: RV 1.25.8 True to his holy law, he knows the twelve moons with their progeny:He knows the moon of later birth.

Wilson translation: RV 1.25.8 He, who accepting the rites (dedicated to him) knows the twelve months and their productions and that which is supplementarily engendered. [An allusion to the thirteenth, the supplementary or intercalary month of the Hindu unisolar year and to the transition to the lunar year from the solar year; 'that thirteenth or additional month which is produced of itself, in connection with the year', yah trayodas'o adhikama_sa upaja_yate sam.vatsarasami_pe svayam evotpadyate].

(See  

Bronze sunrise Sit Shamsi of Susa is visual image of Veda sacred fire-prayers signified by काण्डर्षितर्पण oblations to ancestor equipment makers 


I am grateful to Dr. Jayasree Saranathan for the brilliant insights she has provided into the tradition releated to time-reckoning of  ष़डशीतिमुख or passages of the sun into zodiacal signs.

ष़डशीतिः means numeral '86'. How does this reconcile with four seasons and six seasons in variant calendrical reckonings of ancient times?

"The 12 zodiacal signs are categorised as Chara (moving), Sthira (fixed) and Ubhaya (common / both chara and sthira). Sun's entry in Chara rashi marks Vishu, in Sthira marks Vishnupadi and in Ubhaya marks Shadasheeti. All the entry days are meant for yajna, tarpan etc....Like many concepts that were lost with time, the practice of spiritual shadana associated with Ubhaya rashi kaala was also lost and therefore substituted with a standard time identified with the first day of sun's entry into the Ubhaya rashis. Now we identify Shadasheeti with the day of solar sankramana in 4 Ubhaya rashis. Since meditation on Shadangan is best in these months. Shadasheeti Punyakala is best remembered as the day of Shadangan. The concept is derived from Shadangan, the name of Shiva as one having 6 limbs. Meditation on the 6 limbs of Shiva was meant in Tantric sadhanas. Shadasheeti also means 'bound by six' or 'fastened to six'. Since the word also means 86, it is probable that number 86 was chosen. Shadasheeti is thus basically a time identified for certain spiritual sadhanas and as such they are not clubbed along with physical division of the zodiac in astrology. This appears in Muhurtha astrology for identifying best time for sadhana related to Shiva. Munda people have the habit of doing Karam Puja on Shadasheeti days."

षष् 'six' ..-अशीतिः f. (-ष़डशीतिः) 1 eighty-six. -2 N. of the four passages of the sun from one zodiacal sign to the other (Apte) षड्-शीति-मुख n. (or f(). scil. गति) the sun's entrance into the four signs (Pisces , Gemini , Virgo , and Sagittarius) सूर्यसिद्धान्त (Monier-Williams)  
Illustration of seasonal distances from Earth to the Sun

Wordcraft Solutions
Seasons within the Hindu calendar
It is even more interesting, how the solar year was classified on the basis of seasons. The 12 lunar months of a solar year are divided into six ritus (seasons), each comprising of approximately two months. Since the seasons are solar based, each of the six seasons — Sharad (late monsoon), Hemant (early winter), Shishir (winter), Vasant (spring), Grishma 
(summer) and Varsha (monsoon)- commence around the 21st date (±2) of each even month of the Western calendar.
The Hindu calendar recognizes the importance of the summer solstice and winter solstice in a solar year, determining the six seasons. The Dakshinayana or the sun’s southern course starts from June 21 till December 21, during which the day-length is successively getting shorter until it is the shortest in december. The Uttarayana or the sun’s northern course progresses from December 21 until June 21, during which the day-length gets successively longer until it is the longest in June. Sun reaches the equinox twice in a year, during which the length of day and night are equal. The first point is Vernal Equinox in March 20(Vasant Sampaat). The other point is called Autumnal Equinox in September 22(Sharad Sampaat).
...When does the year start?
The start of the year varies from one region to another, predominantly based on the cultural as well as agricultural harvest season. In most regions, the year starts on the New Moon before the Sun enters the zodiac sign of Aries (Meṣa). This happens on or around the day of the March equinox, which marks the beginning of spring in the Northern Hemisphere. It is during this time of the year that the grains have been harvested and the new season of sowing starts. It follows the spring equinox (Vasant Sampat) and generally falls on 14 April of the Gregorian year. The same date is observed as the traditional new year in Assam, West Bengal, Kerala, Tamil Nadu, Manipur, Tripura, Bihar, Odisha, Punjab, Uttar Pradesh, Uttarakhand, Himachal Pradesh, Haryana, Rajasthan as well as in Nepal and Bangladesh. Myanmar, Cambodia, Laos, Thailand, and Sinhalese in Sri Lanka also celebrate the same day as their new year. [unquote]

Rtu /season is mentioned in the Rig Veda. Though seasons are mentioned in it Atharvaveda (6-55-2) and several Samhitas mention “Six Seasons”.
Valmiki in his Ramayana described Hemanta Rtu in Aranya kanda, Vasanta Rtu and Varsha rtu in Kishkinda Kanda.
Manu mentioned seasons in the verses: 1-30, 3-217, 4-26, 9-36 and 3-273.
Kalidasa in his famous book on seasons Rtu Samharam (The Gathering of the Seasons) begins with summer season. It has got six sections, one each for a season. It has 144 verses.
According to Taittiriya Samhita Vasanta Rtu is the first one. Krishna also says that he is Vasanta rtu among the seasons (Bhagavd Gita 10–35).
khotanese

Itihāsa. Look east, act east. Research resources for Southeast Asia studies and identity of सुवर्णभूमि

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List of inscriptions in order of their numeration in the EFEO inventory of Campā inscriptions https://isaw.nyu.edu/publications/inscriptions/campa/inscriptions/index.html

Mentioned in a portal listing research resources https://www.southeastasianarchaeology.com/resources/

I suggest that all academic curricula of all levels should include references to the links of Ancient India with Ancient Far East from the days of Munda language leading the formation and evolution of Mon-Khmer languages. Khmer /kmɛə/ kmor Cambodian (natively 
ភាសាខ្មែរ phiăsaa khmae Khmer pronunciation: [pʰiə.ˈsaː kʰmae], dialectal khmæ or khmɛɛr, or more formally ខេមរភាសា kheemaʾraʾ phiăsaa.

Enormous resources of ancient history lie hidden in the narratives of journeys along the Indian Ocean Rim and of how Ancient India was a superpower until 1 CE contributing to over 30% of Global GDP.

Have you seen this golden chariot in Kalachakra Museum, Singapore?
Kalachakra Museum, Singapore. Model of a golden chariot which a Khmer king had given to King Karikala to celebrate the Chola-Khmer alliance. Khmer influence in Thai-Malay peninsula during 12th century CE is recorded by the French epigraphist George Coedes. Some historians interpret that the gift of the Khmer chariot was from Suryavarman to Rajendra Chola.

Itihāsa &विज्ञानम् | Will Parker Solar Probe answer why Saranyu is the swift-speeding storm cloud which heats the Sun's corona?

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Anyway, a Parker Solar Probe Mission has been launched by NASA in 2018, to test this theory. https://solarsystem.nasa.gov/missions/parker-solar-probe/in-depth/ 
  • Over seven years, the spacecraft will complete 24 orbits around the Sun.
  • At its closest approach, the spacecraft will come within about 3.9 million miles (6.2 million kilometers) of the Sun. "uring its journey, the mission will provide answers to long-standing questions that have puzzled scientists for more than 60 years: Why is the corona much hotter than the Sun's surface (the photosphere)? How does the solar wind accelerate? What are the sources of high-energy solar particles?"
NASA offered an extraordinary tribute by naming one of its solar missions after a great , living astrophysicist, Eugene Parker. See: https://astro.uchicago.edu/people/eugene-n-parker.php

This blog offers its tributes to the enquiring astrophysicist ātman by invoking metaphors from the gveda which have anticipated the theory Parker proposed to resolve an unsolved paradox in cosmic sciences..

R̥gveda is one of the great documents of human enquiry and offers metaphors which may help posit new theories in cosmology..

--Saranyu has been described as "the swift-speeding storm cloud" Will Parker Solar Probe provide answers to this fundamental phenomenon of swift-speeding by Saranyu? Isn't it amazing that Saranyu is a metaphor for a swift-speeding storm cloud? Is she a wind because she is associated with वायु 'wind divinity' -- the son-in-law of त्वष्टृ, the creator artisan? 

-- सरण्यु mfn. quick , fleet , nimble (RV) f. N. of a daughter of त्वष्टृ (in RV. represented as the wife of विवस्वत् and mother of the two अश्विन्s , and accord. to some , of the twins यम and यमी , whom she brought forth in the form of a mare ; accord. to some also N. of the Dawn) RV. x , 17 , 2 (Monier-Williams) सरण   saraṇa सरण a. [सृ-ल्युट्] Going, moving, flowing. -णम् 1 Proceeding, going or flowing. -2 Running, quick motion; आजेः सरणम् Ch. Up.1.3.5; आरोहे पर्यवस्कन्दे सरणे सान्तरप्लुते Mb.6.76.8;7.114.5. -3 Locomotion. -4 Iron rust.सरण्युः   saraṇyuḥ सरण्युः [सृ-अन्युच् Uṇ.3.83] 1 Air, wind. -2 A cloud. -3 Water. -4 The spring. -5 Fire. -6 N. of Yama.(Apte)

-- Discovering solar wind...Will gveda metaphors help? वायु the son-in-law of त्वष्टृ is a gveda metaphor

gveda is an intense enquiry into the phenomena of nature, including the pancabhuta or the ive elements which are the basic raison d'etre of physics. One such enquiry relates to the curious situation observed on the surface of the sun.

A scienc education site explains the phenomenon of the cooler photosphere (about 9,900 degrees F) compared to the Sun's atmosphere (corona) above the photosphere.  In the region 500 kilometers above the photosphere,  temperature increases very steeply from 9,900 degrees F to a few million degrees in the corona. Eugene Parker theorized that this phenomenon of steep rise in the temperature of the Sun's corona region is explained by a phenomenon of solar winds.

Solar Temperature Gradient Paradox

From the e-book Universe Electric - The Sun
Credit: The Thunderbolts Project

"The photosphere is the visible "surface" of the Sun. The Sun is a giant ball of plasma (electrified gas), so it doesn't have a distinct, solid surface like Earth. Sunlight that is created by nuclear fusion in the Sun's core (center) gradually works it's way outward, colliding over and over with atoms in the Sun's interior. After a million-year journey, the sunlight finally reaches a level where the plasma is less dense and photons stop running into atoms and can finally escape into space. This level is what we see as the glowing "surface" of the Sun - the photosphere.
 
The temperature of the photosphere is around 5,500° C (about 9,900° F). The photosphere is much cooler than the Sun's core, which has a temperature well above 10 million degrees. Surprisingly, the photosphere is also much cooler than the Sun's atmosphere above it, which has regions with temperatures ranging up to a couple of million degrees. There is some variation in temperature from place to place in the photosphere - for example, sunspots are relatively cool regions with temperatures as low as 3,000 to 4,500° C (5,400 to 8,100° F).
 
The area of the Sun's interior immediately below the photosphere is called the convection (or convective) zone. The lower section of the Sun's atmosphere, the chromosphere, lies above the photosphere."

https://scied.ucar.edu/sun-photosphere

Rgveda uses the metaphor of त्वष्टृ to explain the processes of creation and phenomena such as the winds called वायु . 

Eugene Parker uses the metaphors of mathematics to explain the physics of wonder suggesting a theory which explains why the surface layer of the Sun is colder than the layer surrounding the corona -- an unusual phenomenon which defies the basic physical law of layers becoming colder as they move away from the core heat of the Sun..

वायु the god of the wind (often associated with इन्द्र in the ऋग्-वेद , as वात [q.v.] with पर्जन्य , but although of equal rank with इन्द्र , not occupying so prominent a position ; in the पुरुषसूक्त he is said to have sprung form the breath of पुरुष , and elsewhere is described as the son-in-law of त्वष्टृ ; be is said to move in a shining car drawn by a pair of red or purple horses or by several teams consisting of ninety-nine or a hundred or even a thousand horses [cf. नि-य्/उत्] ; he is often made to occupy the same chariot with इन्द्र , and in conjunction with him honoured with the first draught of the सोम libation ; he is rarely connected with the मरुत्s , although in i , 134 , 4 , he is said to have begotten them from the rivers of heaven ; he is regent of the नक्षत्र स्वाति and north-west quarter » लोक-पाल) (RV)

Tvaṣṭṛ is a solar deity in the Mahābhārata and the Harivaṃśa. He is mentioned as the son of Kāśyapa and Aditi and is said to have made the three worlds with pieces of the SuryaSaranyu has been described as "the swift-speeding storm cloud"; thus Saranyu is the wife of वायु.
Suryadeva.jpg
Surya with consorts Saranyu and Chhaya (Divinities of Clouds and Dusk)
Saranyu (SaraṇyūSaranya) — also known as SanjanaSangnaSauriRandal and Ravi Randal — is a Hindu goddess (devi) and a daughter of Vishvakarman/Tvastar and Virocanā(daughter of Prahrāda was the wife of Tvastr) (Brahmanda Purana, III.59) Saranyu and her sister Chhaya are the wives of Lord Surya, the Hindu Sun god.

RV 10.17.1 Griffith translation:  TVASTAR prepares the bridal of his Daughter: all the world hears the tidings and assembles. But Yamas' MotherSpouse of great Vivasvan, vanished as she was carried to her dwelling.





अ॒द्भ्यः सम्भू॑तः पृथि॒व्यै रसा॓च्च । वि॒श्वक॑र्मणः॒ सम॑वर्त॒ताधि॑ । तस्य॒ त्वष्टा॑ वि॒दध॑द्रू॒पमे॑ति । तत्पुरु॑षस्य॒ विश्व॒माजा॑न॒मग्रे॓ ॥ Rigveda 10-82


Gene ParkerEugene Parker.jpgEugene Parker in 2018 at the launch of the solar probe that bears his name (Born: June 10, 1927)

Source: https://news.uchicago.edu/story/award-honors-prof-eugene-parkers-lifetime-physics-research ...“solar wind” carries charged particles from the surface of the sun, is the theory proposed by Eugene Newman Parker. The editor of the Astrophysical JournalSubrahmanyan Chandrasekhar, overruled the reviewers and published the paper which referred to this theory of Parker.
https://www.youtube.com/watch?time_continue=128&v=WH_TC9VzMUA

Itihāsa. Significance of 3rd m. BCE bronze mirrors of Sarasvati Civilization, one of eight signifiers of wealth resources

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-- Significance of 3rd m. BCE bronze mirrors of Sarasvati Civilization to define an Ancient Maritime Tin Route linking AFE and ANE
-- Adorant on the Kulli Bronze mirror handle vividly compares with the adorants on Sit Shamsi bronze 
-- vividly orthographed h010 Seal of a goldsmith, brassfounder
-- Mohenjo-daro ziggurat, climb of stairs to reach the high ground of Stupa mound
-- Adorants on Sit Shamsi bronze offering prayers at sunrise
-- These traditions evolve into the veneration of eight auspicious symbols as ashtamangala necklaces with distinct symbols, the roots of which are traceable to the Bronze-Age Civilization of 3rd m. BCE in Sarasvati and Sindhu River Basins.

Decipherment of hieroglyphs on ashtamangala necklace
Central pendant: khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coiner, mint' PLUS sippi 'mollusc' rebus: sippi 'artisan'

kammata 'portable furnace' rebus:  kampaṭṭam coinage, coin, mint' AND dhvaja 'banner': dhayavaḍa 'flag' rebus meḍ dhā̆vaḍ 'iron smelter' 

aya 'fish' rebus: ayas 'alloy metal' PLUS sippi 'mollusc' rebus: sippi 'artisan' PLUS dāmā 'rope, garland' (Hindi) Rebus: dhamma 'virtious conduct,

kaNDA 'sword'rebus: kanda 'equipment' rebus: 

aya 'fish' rebus: ayas 'alloy metal' PLUS dula 'pair' rebus: dul 'metal casting'; thus, alloy metal castings

ṭheṅ ʻ small axe ʼ (< *ṭaṅkī) rebus: ṭaṅka 'mint'

 मृद्वी (p. 126) mridu̮î mridu: -kâ, f. vine; grape. Rebus: mridu̮ 'iron'

मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) Rebus: meḍ 'iron' (Ho.Mu.)

tAmarasa 'lotus' rebus: tAmra 'copper'

rebus: arcís arcí 'ray, flame, lustre '


This monograph posits that the prayers in veneration offered in front of the ziggurat temple and smithy (rebus: kole.l 'temple') are a celebration of wealth-resources generated by metalworkers and lapidaries of Sarasvati Civilization.

The bronze mirror as a remarkable achievement of metallurgists of ancient times gets exemplified on eight auspicious symbols of wealth-production including the mirror as one of the symbols. (See Group 2 list of symbols which includes item 3 'mirror').
sippi 'shell' rebus: sippi 'artisan' mēḍhā 'twist; मेध = yajña. मेधा = धन (नैघण्टुक , commented on by यास्क ii , 10
satthiya 'svastika glyph' rebus: sattva, jasta 'zinc' 
khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin, mint' PLUS aya 'fish' rebus: ayas 'alloy metal'
kammata 'portable furnace' rebus:  kampaṭṭam coinage, coin, mint' 
dāmā 'rope, garland' (Hindi) Rebus: dhamma 'virtious conduct,
Ayagapatta, Mathura.

Image result for svastika pair of fish necklace pendant bharatkalyan97
Image result for pair of fishes dhvaja furnace necklace bharatkalyan97

Ashtamangala Groupings of eight auspicious symbols were originally used in India at ceremonies such as an investiture or coronation of a king. An early grouping of symbols included: throneswastika, handprint, hooked knotvase of jewels, water libation flask, pair of fishes, lidded bowl.


I suggest that the eight auspicious symbols evolved from the Indus Script hieroglyphs which signified wealth-creation resources and activities of artisans and merchants ; a list of eight hieroglyph are suggested from the Indus Script corpora:

1. svastika, (satthiya 'svastika glyph' rebus: sattva, jasta 'zinc')
2. hooked knot, ( mēḍhā 'twist; मेध = yajña. मेधा = धन (नैघण्टुक , commented on by यास्क ii , 10)
3. vase of jewels,  (kanda kanka 'rim of pot' rebus: 'equipment scribe')
4. water libation flask, (ranku 'liquid measure' rebus: ranku 'tin ore') A substitute could be the hieroglyph of axe:  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 (? AO viii 310), Phal. ṭhō˘ṅgi f.; 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) Rebus:  ṭaṅkaśālā -- , ṭaṅkakaś˚ f. ʻ mint ʼ lex. [ṭaṅka -- 1, śāˊlā -- ] N. ṭaksāl˚ār, B. ṭāksālṭã̄k˚ṭek˚, Bhoj. ṭaksār, H. ṭaksāl˚ār f., G. ṭãksāḷ f., M. ṭã̄ksālṭāk˚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)
5. pair of fishes, (aya 'fish' rebus: ayas 'alloy metal' PLUS dula 'two' rebus: dul 'metal casting'; thus alloy metalastings)
6.  Santali dictionary. Rebus: arcís n. (f. ŚBr.), arcí -- m. ʻ ray, flame, lustre ʼ RV.

Mirror:  ādarśá m. ʻ mirror ʼ (Brihadarnayaka Upanishad 2.1.9)., ˚aka -- m. R. [√dr̥ś] Pa. ādāsa -- , ˚aka -- m., Pk. ādaṁsa -- , ˚aga -- , āyaṁsa -- , ˚aga -- , āyāsa -- ; -- MIA. *ādariśa -- : Pk. ādarisa -- , āya˚ m.; Paš. rešó, Shum. reṣe (!), S. āhirī f., L. ārhī f., WPah. jaun. ārśī, Ku. N. ārsi; A. ārhi ʻ likeness ʼ; B. ārsi ʻ mirror ʼ (→ A. ārsi), Or. ārisi˚asi, Bhoj. Aw. lakh. ārasī, H. ārsī f.; OG. ārīsaü (< MIA. *āarissa-- ?), G. ārīsɔar˚ārsɔ m. ʻ large mirror ʼ, ārsī f. ʻ small do. ʼ, (→)P. ārsī f., S. ārisīārsī f.); M. ārsāar˚ m. ʻ small mirror ʼ, ārśīar˚ f. ʻ mirror ʼ.Addenda: ādarśá -- : S.kcch. ārīso m. ʻmirrorʼ, WPah.kṭg. (kc.) arśu m., J. ārśu.(CDIAL 1143) Ādāsa [Sk. ādarśa, ā + dṛś, P. dass, of dassati1 2] a mir- ror Vin ii.107; D i.7, 11 (˚pañha mirror -- questioning, cp. DA i.97: "ādāse devataŋ otaretvā pañha -- pucchanaŋ"), 80; ii.93 (dhamnaɔ -- ādāsaŋ nāma dhamma -- pariyāyaŋ desessāmi); S v.357 (id.); A v.92, 97 sq., 103; J i.504; Dhs 617 (˚maṇḍala); Vism 591 (in simile); KhA 50 (˚daṇḍa) 237; DhA i.226.   -- tala the surface of the mirror, in similes at Vism 450, 456, 489(Pali)  Ta. attam mirror (< Te.). Te. addamu mirror, pane of lass. Ga. (S.3) addam mirror. Go. (Ko.) addam id (Voc. 49). Konḍa adam id. Kuwi(F.) ademi id. / Cf. Pkt. addāa- mirror. (DEDR 147) Rebus: arcís n. (f. ŚBr.), arcí -- m. ʻ ray, flame, lustre ʼ RV. [√arc]Pa. accī˅ -- f., once m. (v.l. acchi -- ); Pk. acci -- f. ʻ heat, vigour ʼ; Ku. N. B. ã̄c ʻ flame, heat ʼ, Or. ã̄ca, Bhoj. Aw. lakh. H. ã̄c f. (→ P. ã̄c f.); G. ã̄cã̄ch f. ʻ heat, ardour, injury ʼ; M. ã̄ċ f. ʻ glow, ardour ʼ; Si. asiya ʻ flame, beam ʼ.Addenda: arcís -- : Garh. ã̄c ʻ blaze ʼ; -- Pa. also acchi -- Tedesco JAOS 77 3, 97.(CDIAL 635) अरसा arasā m ( H) A mirror or looking-glass. Ex. तव्याचा जातां बुरसा ॥ मग तोचि होय सहज अ0 ॥ अरशापुढें कोळसा Used where a thing remarkably foul, vile, base, or bad is compared with a thing remarkably bright, pure, fine, or good. अर- शा सारखा Bright and clear as a mirror;--used lit. fig. of houses, rooms, accounts, handwriting, business. अरशासारखें तोंड-मुख-चेहरा A clear complexion or beautiful countenance. (Marathi) आ-दर्श a looking-glass , Mirror S3Br. Br2A1rUp. MBh. R. &c
 दर्पण m. (g. नन्द्य्-ादि) " causing vanity " , a mirror Hariv. 8317 R. ii S3ak. &c ifc. " Mirror " (in names of works) e.g. आतङ्क- , दान- , साहित्य- (Monier-Williams) dárpaṇa m. ʻ mirror ʼ Hariv. [√dr̥p?]Pa. dappana -- m. ʻ mirror ʼ, Pk. dappaṇa -- m.; A. dāpan ʻ mirror ʼ, dāpani ʻ a bellmetal utensil used by groom in marriage ceremony ʼ; Si. dapaṇadäp˚ ʻmirrorʼ. 
Addenda: darpaṇa -- : A. also spel. dāpon ʻ mirror ʼ.(CDIAL 6201) آرسئِي ār-saʿī, s.f. (6th) (HI. ارسي) A mirror, a small mirror for the thumb worn by women. Sing. and Pl.; آهنه āhinaʿh, s.f. (3rd) A mirror, a looking- glass. Pl. يْ ey.See آهينه and آئينه (Pashto) aina ऐन or öna आ॑न
 (=) आदर्शःm. a mirror, a looking-glass (Śiv. 500, 558, 1547). K.Pr. spells this word āīnah, transliterating the Pers. . -dörü -दा॑रू॒ । आदर्शकवाटः a door ornamented with mirrors. -goru -ग॑रु॒ । दर्पणसम्पादकः m. a mirror-maker; a seller of mirrors. -khünḍü -ख॑ण्डू॒ । आदर्शखण्डः f. a piece of a mirror. -

7. dhvaja 'banner': dhayavaḍa 'flag' rebus meḍ dhā̆vaḍ 'iron smelter' 

8. lidded bowl (dhakka 'lid' rebus: dhagga 'bright, blazing (metal)' 

Ta. taka-tak-eṉal, taka-takav-eṉal onom. expr. of dazzling, glowing, glittering. Ko. dag dag in- (iḏ-) (flame) burns brightly; dagdagn with a good light. Ka. daggane with a blaze. Tu. dagadaga, dagabaga brightly; dagga, dagganè (to blaze) suddenly. Te. dagadaga glitter; dagadagam-anu to glitter, shine. Kur. dagnā to light, set fire to, burn (tr.); dagrnā to catch fire, be burned. Malt. dagdagre to glitter, shine (or < IA). / MBE 1969, p. 293, no. 26, for areal etymology, with reference to Turner, CDIAL, no. 6704, *dhagg-, Pkt. dhagadhagaï flares, H. dhagdhagānā to glitter, dhakdhakānā to blaze; add ibid. no. 5522(4) Panj. dagdagāuṇā to shine, no. 5522(1) Ass. ḍagmag sparkle, ḍagmagāiba to glitter, Beng. ḍagḍagiyā glowing, H. ḍagḍagānā, ḍagmagānā to burn brightly.(DEDR 2998) *dhagg ʻ throb, glitter ʼ. [Cf. dhagiti ʻ at once ʼ Kād., dhagad -- dhagiti ʻ crack! ʼ HPariś., and *ḍag -- 1Pk. dhagadhagaï ʻ flares ʼ, dhagadhaggamāṇa -- , dhaggīkaya -- ʻ blazing ʼ; H. dhagdhagānā ʻ to throb, glitter ʼ; G. dhagdhagvũ ʻ to burn fiercely ʼ; M. dhagdhagṇẽ ʻ id., to beat (of heart) ʼ; -- S. dhakdhaki f. ʻ palpitation ʼ; N. dhakāunu ʻ to pant ʼ; B. dhak ʻ sudden blaze ʼ, dhakdhakāna ʻ to throb, glitter ʼ; Or. dhaka ʻ blaze ʼ, dhakadhaka ʻ throbbing, blazing ʼ; H. dhakdhakānādhadhaknā ʻ to blaze ʼ, G. dhakdhakvũ; M. dhakdhakṇẽ ʻ to palpitate ʼ.Addenda: *dhagg -- : Ko. dhaggu ʻ heat ʼ, dhagdhagu ʻ blazing heat ʼ.(CDIAL 6704)

Fan of fly whisk: VĪJ or VYAJ ʻ fan ʼ. [J. Bloch BSOS v 741 ← Drav., Tam. vīcu ʻ to fan ʼ, &c. DED 4479; but cf. √vic ʻ blow, winnow ʼ (see *vicyatē1) and √vij ʻ sudden motion ʼ (see *vijyatē) and Dhātup. √vij = √vic ʻ separate ʼ. Perh. vīj -- from IA. vic -- , vij -- , vyaj -- X Drav. vīc -- (J. C. W.)] vījana n. ʻ fanning ʼ Kāv., ʻ fan ʼ Bhpr. 2. vyajana -- n. ʻ fan ʼ Mn. [√vīj]1. Pa. vījana -- n., ˚nī -- f. ʻ fan ʼ, Pk. vījaṇa -- , vīaṇa -- n., ˚ṇī -- f., viaṇa -- n., B. biuni, Mth. bian˚ni, Si. vidini -- ya; -- Pk. viṁjaṇa -- n. ʻ fan ʼ, S. viñiṇo m., ˚ṇī f., G. vī˜jṇɔ m.; M. vj˜j̈haṇ -- vārā m. ʻ air stirred by a fan ʼ, vĩj̈hṇāvij̈hṇā m. ʻ fan ʼ. -- NIA. forms with -- j -- perh. rather derivatives of MIA. verb with vijj -- < vījyatē: B. bijani ʻ fan ʼ, H. bījnā m., G. vijṇɔvijhṇɔ m., M. vij̈ṇā m., vij̈hṇā m.
2. Bi. bĕniyã̄ ʻ fan for jeweller's fire ʼ; OAw. H. benā m. ʻ fan ʼ.(CDIAL 12043) Rebus: bicha'haematite, ferrite ore'.

See: http://www.buddhistinformation.com/about_the_eight_auspicious_symbo.htm Eight auspicious symbols of Tibetan Buddhism

Eight auspicious symbols which signify the investiture of a king in Hindu tradition are:

The Hindu tradition lists them as: List 1

List 2:
svastika, (satthiya 'svastika glyph' rebus: sattva, jasta 'zinc')
handprint, 
hooked knot, ( mēḍhā 'twist; मेध = yajña. मेधा = धन (नैघण्टुक , commented on by यास्क ii , 10)
vase of jewels,  (kanda kanka 'rim of pot' rebus: 'equipment scribe')
water libation flask, (ranku 'liquid measure' rebus: ranku 'tin ore')
pair of fishes, (aya 'fish' rebus: ayas 'alloy metal' PLUS dula 'two' rebus: dul 'metal casting'; thus alloy metalastings)lidded bowl (dhakka 'lid' rebus: dhagga 'bright, blazing (metal)' Ta. taka-tak-eṉal, taka-takav-eṉal onom. expr. of dazzling, glowing, glittering. Ko. dag dag in- (iḏ-) (flame) burns brightly; dagdagn with a good light. Ka. daggane with a blaze. Tu. dagadaga, dagabaga brightly; dagga, dagganè (to blaze) suddenly. Te. dagadaga glitter; dagadagam-anu to glitter, shine. Kur. dagnā to light, set fire to, burn (tr.); dagrnā to catch fire, be burned. Malt. dagdagre to glitter, shine (or < IA). / MBE 1969, p. 293, no. 26, for areal etymology, with reference to Turner, CDIAL, no. 6704, *dhagg-, Pkt. dhagadhagaï flares, H. dhagdhagānā to glitter, dhakdhakānā to blaze; add ibid. no. 5522(4) Panj. dagdagāuṇā to shine, no. 5522(1) Ass. ḍagmag sparkle, ḍagmagāiba to glitter, Beng. ḍagḍagiyā glowing, H. ḍagḍagānā, ḍagmagānā to burn brightly.(DEDR 2998) *dhagg ʻ throb, glitter ʼ. [Cf. dhagiti ʻ at once ʼ Kād., dhagad -- dhagiti ʻ crack! ʼ HPariś., and *ḍag -- 1]
Pk. dhagadhagaï ʻ flares ʼ, dhagadhaggamāṇa -- , dhaggīkaya -- ʻ blazing ʼ; H. dhagdhagānā ʻ to throb, glitter ʼ; G. dhagdhagvũ ʻ to burn fiercely ʼ; M. dhagdhagṇẽ ʻ id., to beat (of heart) ʼ; -- S. dhakdhaki f. ʻ palpitation ʼ; N. dhakāunu ʻ to pant ʼ; B. dhak ʻ sudden blaze ʼ, dhakdhakāna ʻ to throb, glitter ʼ; Or. dhaka ʻ blaze ʼ, dhakadhaka ʻ throbbing, blazing ʼ; H. dhakdhakānādhadhaknā ʻ to blaze ʼ, G. dhakdhakvũ; M. dhakdhakṇẽ ʻ to palpitate ʼ.Addenda: *dhagg -- : Ko. dhaggu ʻ heat ʼ, dhagdhagu ʻ blazing heat ʼ.(CDIAL 6704)

Other substitutes: 
Mirror: 
ādarśá m. ʻ mirror ʼ (Brihadarnayaka Upanishad 2.1.9)., ˚aka -- m. R. [√dr̥ś] Pa. ādāsa -- , ˚aka -- m., Pk. ādaṁsa -- , ˚aga -- , āyaṁsa -- , ˚aga -- , āyāsa -- ; -- MIA. *ādariśa -- : Pk. ādarisa -- , āya˚ m.; Paš. rešó, Shum. reṣe (!), S. āhirī f., L. ārhī f., WPah. jaun. ārśī, Ku. N. ārsi; A. ārhi ʻ likeness ʼ; B. ārsi ʻ mirror ʼ (→ A. ārsi), Or. ārisi˚asi, Bhoj. Aw. lakh. ārasī, H. ārsī f.; OG. ārīsaü (< MIA. *āarissa-- ?), G. ārīsɔar˚ārsɔ m. ʻ large mirror ʼ, ārsī f. ʻ small do. ʼ, (→)P. ārsī f., S. ārisīārsī f.); M. ārsāar˚ m. ʻ small mirror ʼ, ārśīar˚ f. ʻ mirror ʼ.Addenda: ādarśá -- : S.kcch. ārīso m. ʻmirrorʼ, WPah.kṭg. (kc.) arśu m., J. ārśu.(CDIAL 1143) Ādāsa [Sk. ādarśa, ā + dṛś, P. dass, of dassati1 2] a mir- ror Vin ii.107; D i.7, 11 (˚pañha mirror -- questioning, cp. DA i.97: "ādāse devataŋ otaretvā pañha -- pucchanaŋ"), 80; ii.93 (dhamnaɔ -- ādāsaŋ nāma dhamma -- pariyāyaŋ desessāmi); S v.357 (id.); A v.92, 97 sq., 103; J i.504; Dhs 617 (˚maṇḍala); Vism 591 (in simile); KhA 50 (˚daṇḍa) 237; DhA i.226.   -- tala the surface of the mirror, in similes at Vism 450, 456, 489(Pali)  Ta. attam mirror (< Te.). Te. addamu mirror, pane of lass. Ga. (S.3) addam mirror. Go. (Ko.) addam id (Voc. 49). Konḍa adam id. Kuwi(F.) ademi id. / Cf. Pkt. addāa- mirror. (DEDR 147) Rebus: arcís n. (f. ŚBr.), arcí -- m. ʻ ray, flame, lustre ʼ RV. [√arc]Pa. accī˅ -- f., once m. (v.l. acchi -- ); Pk. acci -- f. ʻ heat, vigour ʼ; Ku. N. B. ã̄c ʻ flame, heat ʼ, Or. ã̄ca, Bhoj. Aw. lakh. H. ã̄c f. (→ P. ã̄c f.); G. ã̄cã̄ch f. ʻ heat, ardour, injury ʼ; M. ã̄ċ f. ʻ glow, ardour ʼ; Si. asiya ʻ flame, beam ʼ.Addenda: arcís -- : Garh. ã̄c ʻ blaze ʼ; -- Pa. also acchi -- Tedesco JAOS 77 3, 97.(CDIAL 635)

 Santali dictionary.
अरसा arasā m ( H) A mirror or looking-glass. Ex. तव्याचा जातां बुरसा ॥ मग तोचि होय सहज अ0 ॥ अरशापुढें कोळसा Used where a thing remarkably foul, vile, base, or bad is compared with a thing remarkably bright, pure, fine, or good. अर- शा सारखा Bright and clear as a mirror;--used lit. fig. of houses, rooms, accounts, handwriting, business. अरशासारखें तोंड-मुख-चेहरा A clear complexion or beautiful countenance. (Marathi) आ-दर्श a looking-glass , mirror S3Br. Br2A1rUp. MBh. R. &c दर्पण m. (g. नन्द्य्-ादि) " causing vanity " , a mirror Hariv. 8317 R. ii S3ak. &c ifc. " Mirror " (in names of works) e.g. आतङ्क- , दान-
 , साहित्य- (Monier-Williams) dárpaṇa m. ʻ mirror ʼ Hariv. [√dr̥p?]Pa. dappana -- m. ʻ mirror ʼ, Pk. dappaṇa -- m.; A. dāpan ʻ mirror ʼ, dāpani ʻ a bellmetal utensil used by groom in marriage ceremony ʼ; Si. dapaṇadäp˚ ʻmirrorʼ. Addenda: darpaṇa -- : A. also spel. dāpon ʻ mirror ʼ.(CDIAL 6201) آرسئِي ār-saʿī, s.f. (6th) (HI. ارسي) A mirror, a small mirror for the thumb worn by women. Sing. and Pl.; آهنه āhinaʿh, s.f. (3rd) A mirror, a looking- glass. Pl. يْ ey.See آهينه and آئينه (Pashto) aina ऐन or öna आ॑न (=) आदर्शःm. a mirror, a looking-glass (Śiv. 500, 558, 1547). K.Pr. spells this word āīnah, transliterating the Pers. . -dörü -दा॑रू॒ । आदर्शकवाटः a door ornamented with mirrors. -goru -ग॑रु॒ । दर्पणसम्पादकः m. a mirror-maker; a seller of mirrors. -khünḍü -ख॑ण्डू॒ । आदर्शखण्डः f. a piece of a mirror. -
Fan of fly whisk: VĪJ or VYAJ ʻ fan ʼ. [J. Bloch BSOS v 741 ← Drav., Tam. vīcu ʻ to fan ʼ, &c. DED 4479; but cf. √vic ʻ blow, winnow ʼ (see *vicyatē1) and √vij ʻ sudden motion ʼ (see *vijyatē) and Dhātup. √vij = √vic ʻ separate ʼ. Perh. vīj -- from IA. vic -- , vij -- , vyaj -- X Drav. vīc -- (J. C. W.)] vījana n. ʻ fanning ʼ Kāv., ʻ fan ʼ Bhpr. 2. vyajana -- n. ʻ fan ʼ Mn. [√vīj]1. Pa. vījana -- n., ˚nī -- f. ʻ fan ʼ, Pk. vījaṇa -- , vīaṇa -- n., ˚ṇī -- f., viaṇa -- n., B. biuni, Mth. bian˚ni, Si. vidini -- ya; -- Pk. viṁjaṇa -- n. ʻ fan ʼ, S. viñiṇo m., ˚ṇī f., G. vī˜jṇɔ m.; M. vj˜j̈haṇ -- vārā m. ʻ air stirred by a fan ʼ, vĩj̈hṇāvij̈hṇā m. ʻ fan ʼ. -- NIA. forms with -- j -- perh. rather derivatives of MIA. verb with vijj -- < vījyatē: B. bijani ʻ fan ʼ, H. bījnā m., G. vijṇɔvijhṇɔ m., M. vij̈ṇā m., vij̈hṇā m.
2. Bi. bĕniyã̄ ʻ fan for jeweller's fire ʼ; OAw. H. benā m. ʻ fan ʼ.(CDIAL 12043) Rebus: bicha 'haematite, ferrite ore'
dhvaja 'banner': dhayavaḍa 'flag' rebus meḍ dhā̆vaḍ 'iron smelter' 
cakra: arka, tsarkh 'potter's wheel') rebus: arka 'copper, gold'
The right-turning white conch shell (Sanskrit: śaṅkha; Tibetan: དུང་དཀར་གཡས་འཁྱིལ་, THL: dungkar yénkhyil) represents the beautiful, deep, melodious, interpenetrating and pervasive sound of the dharma, which awakens disciples from the deep slumber of ignorance and urges them to accomplish their own welfare and the welfare of others.The conch shell is thought to have been the original horn-trumpet; ancient Indian mythical epics relate heroes carrying conch shells. The Indian god Vishnu is also described as having a conch shell as one of his main emblems; his shell bore the name Panchajanya meaning "having control over the five classes of beings"

Lotus: tAmarasa 'lotus' rebus: tAmra 'copper'

Parasol. koDa 'umbrella' rebus: koDa 'workshop'

The Hindu tradition lists them as: 
Group 1 
lion
bull
elephant
water-jar
fan
flag
trumpet
lamp

Group 2
Here is the sequential order of the Eight Auspicious Symbols of Nepali Buddhism:
  1. Endless knot
  2. Lotus flower
  3. Dhvaja
  4. Dharmachakra (fly-whisk in Nepali Buddhism)
  5. Bumpa
  6. Golden Fish
  7. Parasol
  8. Conch
The sequential order for Chinese Buddhism was defined[10] in the Qing dynasty as:
  1. Dharmachakra
  2. Conch
  3. Dhvaja
  4. Parasol
  5. Lotus flower
  6. Bumpa--The bumpa (Standard Tibetan: བུམ་པ་), or pumpa, is a ritual vase with a spout used in Tibetan Buddhist rituals and empowerments.
  7. Golden Fish
  8. Endless knot

Piggott, 1961, Prehistoric India, Harmondsworth, p. 112. Female figure with breasts, with arms akimbo. Compares with the handle of bronze mirror found in Barbar temple whish shows a male figure with arms joined on the chest in a worshipful pose.

Bronze mirror handle from Barbar Temple, Bahrain (After illustration by Glob, PV, 1954, Temples at Barbar, Kuml 4:142- 53, fig. 6) Another remarkable figure in bronze is a bird (After fig. 7 ibid.)
One view of Mohenjo-daro ziggurat and the flight of steps leading upto the high mound called stupa mound. The temple is kole.l rebus: kole.l 'smithy, forge'. See Sit Shamshi bronze. The smithy and the temple flank the two adorants praying to the sunrise divinity.

Bronze sunrise Sit Shamsi of Susa is visual image of Veda sacred fire-prayers signified by काण्डर्षितर्पण oblations to ancestor equipment makers https://tinyurl.com/y5gwp44f
Sockle with rive holes and curved slit (Rao, 1966, Fig.1).The handle of the bronze mirror has the image of an adorant, comparable to the naked worshippers of Sit Shamsi bronze.



 My Architecture Diary: The Echoing Ruins..Text message: minr doe gold casting, cast equipment, tin casting, silver, gold



Another seal impression of h010 seal. Decipherment: Seal of a goldsmith, metalwork artisan working in a fine gold, ornament gold mint. Wavy indentations on the face of the young bull are intended to emphasise the hieroglyph rebus reading: mũh 'face' Rebus 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 mẽhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends;kolhe tehen mẽhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, read together with spiny horn, the reading is: singi 'ornament gold' PLUS kunda 'fine gold' PLUS mũhã̄ 'ingot'.

Field symbol: Spiny horn is vividly orthographed:  कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaa 'lathe, portable brazier' PLUS  [ kammaamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kamma'mint, coiner, coinage'.  khōṇḍa 'sack, pannier'khōṇḍa 'young bull' rebus: kō̃da कोँद 'potter's kiln' (Kashmiri) kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 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) kunda 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, kũdākõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibākū̃d˚ 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) Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold.(DEDR 1725)

loa 'ficus glomerata' rebus: loh 'copper, metal' PLUS dula 'pair' rebus: dul 'metal casting'; thus, copper metal castings.

Alternative reading: arka 'sun's rays' rebus: arka 'gold, copper' PLUS dula 'pair' rebus: dul 'metal casting'. Thus, cire perdue gold casting.

 

https://tinyurl.com/y7osutjz

-- kār-kund 'manager'.sãghāṛɔ 'lathe' rebus jangadiyo 'military guard'; kamaṭamu 'portable furnace', kammata 'mint'
-- kār-kunda 'manager' of lokhaṇḍa 'metal tools, pots and pans, metalware'. 



Gold Pendant. Harappa. National Museum, New Delhi
Sun's rays arka 'sun, rays of sun' rebus: arka 'copper, gold' eraka 'moltencast'. 
Image result for pendant ndus scriptm1656 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: kundaa 'fine gold'; kār-kund 'manager'. The overflowing pot signifies the goldsmith artisan's repertoire of metalwork professional competence: lokhaṇḍa 'metal tools, pots and pans, metalware' (Marathi)

I suggest that this pictograph signifies arka 'sun's rys' rebus: arka 'gold' Synonym: kundana 'fine gold'  (rebus reading of kõda 'young bull-calf'. Rebus: kundaa 'fine gold' (Kannada).-- as a semantic determinative.



Hieroglyph 1: sãghāṛɔ 'lathe'.(Gujarati).Rebus:  Vajra Sanghāta 'binding together' (Varahamihira) *saṁgaḍha ʻ collection of forts ʼ. [*gaḍha -- ]L. sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ.(CDIAL 12845). Rebus: jangaḍ 'wealth in treasury, accounting of mercantile transaction'; jangadiyo 'military guards carrying treasure into the treasury' (Gujarati). Hieroglyph 2: కమటము  kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి. "చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్"హంస. ii. Rebus: kammata 'coiner, mint, coinage'.
Hieroglyph: खोंड (p. 216) [khōṇḍam A young bull, a bullcalf; खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl (Marathi. Molesworth); kōḍe dūḍa bull calf (Telugu); kōṛe 'young bullock' (Konda)Rebus: kõdā ‘to turn in a lathe’ (Bengali) kõda 'young bull-calf'. Rebus: kũdār 'turner'; kundana 'fine gold' (Kannada).कुन्द [p= 291,2] one of कुबेर's nine treasures (N. of a गुह्यक Gal. ) L. کار کند kār-kund (corrup. of P کار کن) adj. Adroit, clever, experienced. 2. A director, a manager; (Fem.) کار کنده kār-kundaʿh.  (Pashto)
kāṇḍam காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). Rebus: khāṇḍā ‘metal tools, pots and pans’ (Marathi) (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) The hieroglyph clearly refers to the metal tools, pots and pans of copper. 
The expression signified by the overflowing pot is: lokhaṇḍa 'metal tools, pots and pans, metalware' (Marathi)
.


kāmaṭhiyo a bowman; an archer (Skt.) Rebus: .kammaTa 'mint, coiner, coinage'
gaṇḍa 'four' rebus: kaṇḍa 'equipment 'ranku 'liquid measure' PLUS dula 'pair' rebus: ranku 'tin' + dul 'metal casting'; thus, metal castings. Or, castmetal fire-altar Kol. (Kin.) gunti bow. Go. (A.) gunti, (S.) gunṭi id.; (Ma.) guncili pellet-bow (Voc. 1132). Pe. guṇci, guṇca id. Kur. guṛthā, gunthā id. Malt. guṉṛta id. (DEDR 1727) Rebus:  kunda 'fine gold'

Hieroglyph: gōṭh गोठ् । अष्टापदम्, इष्टफलम् f. (sg. dat.gōṭi गोटि), a kind of chequered cloth of thirty-six squares for playing chess, causar, or similar game, a dice-board; an aim, desired object. -- marüñü --  । इष्टावाप्तिः f.inf. to obtain a desired object, achieve one's object. Rebus: gö̃ṭh, a bell, a plate of brass or mixed metal for striking the hours, a gong. (Kashmiri)
Rebus: गोटी [ gōṭī ] f (Dim. of गोटा)  A lump of silver: as obtained by melting down lace or fringe. 

Alternative reading of strands of fringe:


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

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

Sign 391 Ligatured glyph. ara 'spoke' rebus: ara 'brass'. era, er-a = eraka =?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.)[Note Sign 391 and its ligatures Signs 392 and 393 may connote a spoked-wheel,nave of the wheel through which the axle passes; cf. ara_, spoke] tsarkh 'potter's wheel' (Pashto) erka = ekke (Tbh.of arka) aka (Tbh. of arka) copper (metal);crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = anymetal infusion (Ka.Tu.); erako molten cast (Tu.lex.) Rebus: eraka= copper (Ka.)eruvai =copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a= syn. erka, copper, weapons (Ka.)Vikalpa: ara, arā (RV.) = spokeof wheel  ஆரம்² āram , n. < āra. 1. Spokeof a wheel.See ஆரக்கால்ஆரஞ்சூழ்ந்தவயில்வாய்
நேமியொடு (சிறுபாண்253). Rebus: ஆரம் brass; பித்தளை.(அகநி.) pittal is cognate with 'pewter'.


Metal mirrors with handles have been reported from many sites such as Mohenjo-daro, Harappa, Hissar and Susa:
Mohenjo-daro: Mackay, EJH, Further Excavations at Mohenjo-daro, Pl. CXVIII 10; 
Harappa: Wheeler, REM, ‘Harappa 1946: the defences and cemetery R.37’ lAncient India, No. 3, Pl. L, II.C; 
Hissar, Schmidt, EF, Excavations at Tepe Hissar, Damaghan, Pl. L.IV, H. 4872; 
Susa: Memoires de la Delegations en Perse, Vol. XIII, p.189, 12 and Vol. XXV, p.212,36)

These mirrors are with handles without any anthroporphic motifs.

Some mirrors of Bahrain, Kulli and Mehi have been discovered with anthropomorphic motifs on the mirror handles.

The Bahrain mirror is from Bahrain and dates to the Barbar temple period dated to ca. 2303-2108 (KUML, 1957, pp. 159 and 162).

A mirrow with a handle showing a female figure discovered at Mehi dates to 2303 BCE.(iggott, S., 1950, Prehistoric India, Harmondsworth, Middlesex, p.99)

As Nagaraja Rao notes: "Evidences for... contacts between Kulli and the Gulf have already been indicated by the occurrence of the typical Kulli-type canisters, compartmented steatite vases with  incised decorations and the black buck or ibexes with curved, swept-back horns and the bull motif with elongated body at the site of Umm an-Nar, and Hili, near Buralmi Oasis, in the Sheikhdom of Abu Dhabi. (Canisters: Piggott.S., op cit., p.101, fig.6; KUML, 1962, figs. 20 and 22; KUML, 1966, fig. 11; Compartmented and Incised Steatite vessels: Piggott, S., opcit., p.111, fig. 10; KUML, 1966, p.94, fig.23; Painted animal motifs: Piggot, S., opcit., fig. 6 and 7; KUML, 1962, fig. 23; KUML, 1966, fig.11)"

Iraq, Volume 48, 1986 , pp. 73-84 Bronze Age Burial Mounds on Bahrain* Anthony Lowe

    • DOI: https://doi.org/10.2307/4200252 Published online by Cambridge University Press: 07 August 2014

    • Extract
    • The island of Bahrain has this century been notable for two main reasons: its identification as Dilmun (Telmun), known from Sumerian to Neo-Assyrian times, and the striking presence of thousands of burial mounds (a recent estimate is 172,000—Larsen 1983). Both have been the cause of some disagreement and difference of interpretation. Recent archaeological work has made the issue of the mounds, their place and interpretation, somewhat clearer. This is none too soon. Comparatively little effort has been made to elucidate the island's own internal archaeology. None of the numerous Bronze Age settlements on the island has been systematically excavated. Bahrain's archaeological framework, instead, is mostly based on the Danish Expedition's limited excavation of Qala'at al-Bahrain in the 1950s and 60s, which remains largely unpublished.
      One of the results of this lack of settlement exploration and the inadequate publication of that already carried out is that the dating of the burial mounds, or at least those of Bronze Age date, has proved problematic, as has the whole of Bahrain's archaeological sequence. Recent work elaborating the ceramic chronology of the North Wall Sounding at Qala'at al-Bahrain by Larsen has been of considerable help. This has enabled broad guidelines to be established for the ceramic sequence from about 2300 B.C. to around 1700 B.C., the period to which the mounds date. https://www.cambridge.org/core/journals/iraq/article/bronze-age-burial-mounds-on-bahrain/12B590C1524C837C59B1F5B8A30DE603

This is an addendum to:
See the arguments of Asko Parpola countered in: Erroneous report on Mirror in Vedic India by Asko Parpola (2019). Archaeological, linguistic evidence for ārśī 'bronze mirror' of 4th m. BCE

https://tinyurl.com/y4q4y9od Mirror: http://bharatkalyan97.blogspot.com/.../erroneous-report... See the image of anthropomorphic mirror of Kulli culture which pre-dates BMAC evidence cited by Asko Parpola.

Nagaraja RaoM. S.1969A bronze mirror handle from the Barbar Temple, Bahrain. A further link with the Kulli Culture, South BaluchistanKuml218–20

Nagaraja Rao notes that this handle resembles a mirror from the Kulli site of Mehi in Baluchistan.

(Stein, A., 1931, An archaeological tour in Gedrosia,Memoirs of ASI 43,: pi.32. Mehi II, 1.2.a; Possehl 1986: 48, Mehi II.1.2.a). These objects are similar to the head of the figure handle in the Mehi example is actually the face of the mirror itself. (Julian Reade, 2013, Indian Ocean in Antiquity, Routledge, p.26). These comments of Julian Reade have to be seen in the context of the artifacts with Indus Script hypertexts discovered in Kulli culture (Mehi). Kulli culture provides indication of working with magnetite, ferrite ore and with alloys of copper with high tin content resulting in the bronze mirrors. At Mehi were found several decorated chlorite vessels, imported from Tepe Yahya and attesting trade contacts with the Eastern Iran.Copper and bronze was known. These are indications that Kulli culture artisans were trade partners with Sarasvati Civilization.
Source: 

 



Sources of tin from Ancient Far East, the largest tin belt of the globe created the Tin-Bronze revolution

Lloyd R. Weeks presents a detailed and cogently argued thesis that tin bronzes of the third and second millennia in the early metallurgy of Persian Gulf points to sources of tin from the East. He posits possible sources from north and east in Afghanistan or Central Asia. However, he fails to resolve the archaeological fact that not many tin-bronzes have been found in Central Asia where there is predominant presence of tin-bronzes in sites such as Tell Abraq (Persian Gulf). (Weeks, Lloyd R., 2003,Early metallurgy of the Persian Gulf, Boston, Brill Academic Publishers Embedded for ready reference.)

https://www.scribd.com/document/363093182/Early-Metallurgy-of-the-Persian-Gulf-Lloyd-R-Weeks-2003

I agree with the analysis of TE Potts (Potts, TF, 1994, Mesopotamia and the East. An archaeological and historical stuydy of foreign relations ca. 3400-2000 BCE, Oxford Committee for Archaeology Monograph 37, Oxford) that the tin for the tin-bronzes of ANE was sourced from the East. I further venture to posit that the tin came from the largest tin belt of the globe, through seafaring merchants of Ancient Far East (the Himalayan river basins of Mekong, Irrawaddy and Salween) mediated by Ancient India trade guilds of 4th to 2nd millennia BCE. See. Maritime Meluhha Tin Road links Far East and Near East -- from Hanoi to Haifa creating the Bronze Age revolution https://tinyurl.com/y9sfw4f8 This hypothesis is a work in process.


Sumer and Kulli meet at Dilmun in the Arabian Gulf

Elisabeth C. L. During Caspers
Archiv für Orientforschung
24. Bd. (1973), pp. 128-132
https://www.jstor.org/stable/41637740
Page Count: 5








Footstep, Indus Script hieroglyph; इळा इडा divinity of Rgveda is Ishtar of ANE on Adda cylinder seal Indus Script hieroglyphs

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https://tinyurl.com/y29q4435
The footsole as an Indus Script hieroglyph finds its mirror on the Adda seal of Susa. The decipherment of the Adda Seal:

On the cylinder seal of Adda, scribe, the eagle flying down towards the water overflowing from the horned person's shoulders compose the key Indus Script hypertexts in Meluhha, which link to Sarasvati Civilization and to R̥gveda ākhyāna 'historical narrative' of श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c. The word also signifies: firewood laid in the shape of an eagle (शुल्ब-सूत्र). Etyma link श्येन with آهن āhan آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garānآهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderboltʼ (CDIAL 910). The thunderbolt produced by  ahan-gār अहन्-गार्, 'blacksmith' is the vajra, 'thunderbolt' eulogised as the powerful weapon of Indra in R̥gveda. This is iron metalwork, weapon in armoury par excellence of अहन्-गार् 'blacksmiths' of Sarasvati Civilization. Overflowing pot signifies: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) emanating from khamba 'shoulder' rebus: kammaṭa 'mint' and the eagle signifies: senaheṇa ʻ thunderboltʼ PLUS khamba 'wings' rebus: kammaṭa 'mint', i.e. metallic weapon, vajra, from the mint. A leafless tree is signified on the mountain of Adda, scribe seal: khōṇḍa'leafless tree' (Marathi). Rebus: kõdār 'turner' (Bengali) Rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃daपयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri).A one-horned young bull frequently signified on Indus Script Corpora is signified below the feet of the horned person on Adda, scribe cylinder seal: the hypertext is:  kō̃da 'young bull' rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri). Thus, working with a smelter, The mountain-range is topped by a kuṭi 'tree' rebus: kuṭhi'smelter' worked by danga 'mountain range' rebus: dhangar 'blacksmith'. In another register on the Adda, scribe cylinder seal, an archer stands next to a roaring lion to signify a brass mint: arye 'lion' rebus: āra 'brass' PLUS kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage'; The thunderbolt is made of ayaskāṇḍa, 'excellent iron': ayo 'fish' rebus: ayas 'metal alloy' aya 'iron' (Gujarati) PLUS kāṇḍā 'water', rebus:  'metalware, tools'. Thus, ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ). āhan is iron, ayas is iron, also alloy metal.
The foot step of Ila shown on the Adda Seal is an Indus Script hieroglyph. Decipherment of this hieroglyph is: me 'dance', 'dance-step' rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Miedź, med' (Northern Slavic, Altaic) 'copper'.

Thus, the scribe is describing in orthography, the details of the metalwork on iron and copper done by the artisan, Shamash, sun divinity who is seen with a saw-like sword on his hand and with rays emanating from his shoulder. khamba 'soldier' rebus: kammaTa 'mint, coiner, coinage'.

Thus, I submit that Ishtar identified on the Adda Seal is the footprint of
इळा  f. इडा or (in ऋग्-वेद/इळा , refreshing draught , refreshment , animation , recreation , comfort , vital spirit RV. AV. AitBr. इडा offering , libation (especially a holy libation , offered between the प्र-याग and अनु-याग , and consisting of four preparations of milk , poured into a vessel containing water , and then partially drunk by the priest and sacrificers ; personified in the cow , the symbol of feeding , and nourishment) S3Br. i , 8 , 1 , 1 , &c AitBr. Ka1tyS3r. Kaus3.; (metaphorically cf. इद्) , stream or flow of praise and worship (personified as the goddess of sacred speech and action , invoked together with अदिति and other deities , but especially in the आप्री hymns together with सरस्वती and मही or भारतीRV. AV. VS. &c; the earth , food Sa1y.; the goddess इडा or इळा (daughter of मनु or of man thinking on and worshipping the gods ; she is the wife of बुध and mother of पुरू-रवस् ; in another aspect she is called मैत्रावरुणि as daughter of मित्र-वरुण , two gods who were objects of the highest and most spiritual devotion).

The defication of the Indus Script hieroglyph of footsole is thus related to the metalwork in a yajna, using the metaphor of a female divinity as signifier of the earth's resource which yields wealth in the form of iron and other metal equipment, with the intervention of Shamash, sun divinity.

See:  

https://tinyurl.com/yb8md9uq


“The human foot is a masterpiece of engineering and a work of art.”  ― Leonardo da Vinci


This insightful observation of Leonardo da Vinci is validated by Indus Script hypertexts which relate foot-related hypertexts to blcksmithy work of artisans.


Footstep is an Indus Script hypertext, signifies 'iron work'. 

Image result for foot anklet bharatkalyan97Foot with anklet; copper alloy. Mohenjo-daro (After Fig. 5.11 in Agrawal. D.P. 2000. Ancient Metal Technology & Archaeology of South Asia. Delhi: Aryan Books International.)

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

Hieroglyph: step, foot: The gloss is meḍ 'dance' (Remo); meḍ 'step' (Santali) మెట్టు [meṭṭu] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు (Telugu)  Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.).

Hieroglyph: anket: śr̥khala m.n. ʻ chain ʼ MārkP., °lā -- f. VarBr̥S., śr̥khalaka -- m. ʻ chain ʼ MW., ʻ chained camel ʼ Pā. [Similar ending in mkhalā -- ]Pa. sakhalā -- , °likā -- f. ʻ chain ʼ; Pk. sakala -- m.n., °lā -- , °lī -- , °liā -- , sakhalā -- , sikh°sikalā -- f. ʻ chain ʼ, sikhala -- n. ʻ anklet ʼ;OH. kaasīkaa m., . ̄kal̄kar,  °krīsakal°klīsikalsīkar°krī f.; OG. kalu n., G. ̄ka°kī f. ʻ chain ʼ, ̄k n. ʻ wristlet ʼ; M. ̄k(h)asāk(h)āk(h)ī f. ʻ chain ʼ, Ko. ka; Si. säkillahä°ä° (st. °ili -- ) ʻ elephant chain ʼ.(CDIAL 12580) Rebus: samgaha, samgaha 'catalogue'. Thus, me samgaha 'iron catalogue'. 



m0493Bt Pict-93: Three dancing figures in a row. Text 2843 Glyph: Three dancers. Kolmo ‘three’; meḍ ‘to dance’
Rebus: kolami ‘furnace, smithy’; meḍ ‘iron’. Thus, iron smithy.

Sign 44 (this glyph could be compared with the orthography of three dancers in a row; the glyph is a ligature showing a 'dance step' and a rimless pot). Glyphs: me 'dance' (Remo); rebus: me 'iron'; baa 'pot'; bahi 'furnace'.
Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Miedź, med' (Northern Slavic, Altaic) 'copper'.  

One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.(Slavic languages)
Santali glosses.

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

dula 'pair' rebus; dul 'metal casting' PLUS mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Miedź, med' (Northern Slavic, Altaic) 'copper'.  Thus, dul mẽṛhẽt, 'cast iron' (Santali)

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

Hieroglyph: footsole: Tu. aḍi bottom, base; kār aḍi footsole, footstep; aḍi kai palm of the hand. Te. aḍugu foot, footstep, footprint, step, pace, measure of a foot, bottom, basis (DEDR 72) Rebus: khār aḍi 'blacksmith anvil'.

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


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


The rebus readings are: khār aḍi 'blacksmith anvil': Rebus: khār खार् 'blacksmith'.khār खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b,l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta 'bellows of blacksmith'. (Kashmiri); kāru ‘artisan’ (Marathi) PLUS aḍi 'anvil' airaṇ 'anvil' (for use in) baṭa 'iron working' or kiln/furnace-work.

The expressions which may relateto khār aḍi 'blacksmith anvil':are: 
காரடம் kāraṭam 
 , n. [T. gāraḍamu, K. gāraḍa.] See காரடவித்தை. 
 காரடவித்தை kāraṭa-vittai 
 , n. < காரடம் +. Juggling, legerdemain; சாலவித்தை. 
 காரடன் kāraṭaṉ  , n. < id. Juggler; சால வித்தைக்காரன். 
காரடையாநோன்பு kāraṭaiyā-nōṉpu , n. < காரடை + ஆம் +. A ceremonial fast observed by women when the sun passes from Aquarius to Pisces, praying for the longevity of their husbands; மாசியும் பங்குனியும் கூடும்நாளில் தம் கணவ ரின் தீர்க்காயுளைக் கருதிக் காரடையை உணவாகக் கொண்டு மகளிர் கைக்கொள்ளும் ஒரு விரதம்.


Is a blacksmith working with an anvil a conjurer? Or, simply a person with knwledgeof snake-poison antidote? 
gāruḍika m. ʻ charmer, dealer in antidotes ʼ Siṁhās. [gāruḍa -- ]
S. gāroṛī (g!) m. ʻ snake -- bite charmer ʼ; A. gāruri ʻ incantation for healing snake -- bite &c. ʼ; MB. gāṛurī ʻ snake -- charmer ʼ, Or. gāruṛiāgāriṛiāgaruṛī; H. G. gāruṛī m. ʻ snake -- charmer, juggler ʼ, M. gāruḍī°roḍī m.(CDIAL 4139)

An allograph:  Ta. karaṭi, karuṭi, keruṭi fencing, school or gymnasium where wrestling and fencing are taught. Ka. garaḍi, garuḍi fencing school. Tu. garaḍi, garoḍi id. Te. gariḍi, gariḍī id., fencing (DEDR 1262) Rebus readings suggest the expansion of the functions of a blacksmith: Rebus 1: करडा [ karaā ] Hard fromalloy--iron, silver &c. Rebus 2: khara_di_ = turner (G.)

Kalibangan065 Cylinder seal impression. Note the scarf of the person ligatured to a tiger. Hieroglyph: Horns of a markhor: Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) med 'copper' (Slavic) 

Hieroglyph: twig on horned headdress: kūtī = bunch of twigs (Skt.)The bunch of twigs = kūdī, kūṭī(Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda(AV 5.19.12) and KauśikaSūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield,American Journal of Philology, 11, 355; 12,416; Roth, Festgruss anBohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).Rebus: kuṭhi 'smelting furnace‘; koṭe ‘forged metal’ (Santali)
Hieroglyph: karã̄ n. pl. ʻ wristlets, bangles ʼ (Gujarati) Rebus: khAr 'blacksmith' kola 'woman' Rebus: kolhe 'smelter' kol 'working in iron' kolle 'blacksmith' kolimi 'smithy, forge'.
Hieroglyph: múkha n. ʻ mouth, face ʼ RV., ʻ entrance ʼ MBh.Pa. mukha -- m.; Aś.shah. man. gir. mukhato, kāl. dh. jau. °te ʻ by word of mouth ʼ; Pk. muha -- n. ʻ mouth, face ʼ, Gy. gr. hung. muy m., boh. muy, span. muí, wel. mūīf., arm. muc̦, pal. mu', mi', pers. mu; Tir.  ʻ face ʼ; Woṭ.  m. ʻ face, sight ʼ; Kho. mux ʻ face ʼ; Tor.  ʻ mouth ʼ, Mai. mũ; K. in cmpds. mu -- gan m. ʻ cheek, upper jaw ʼ, mū -- kāla ʻ having one's face blackened ʼ, rām. mūī˜, pog. mūī, ḍoḍ. mū̃h ʻ mouth ʼ; S. mũhũ m. ʻ face, mouth, opening ʼ; L. mũh m. ʻ face ʼ, awāṇ. mū̃ with descending tone, mult. mũhã m. ʻ head of a canal ʼ; P. mū̃h m. ʻ face, mouth ʼ, mū̃hã̄ m. ʻ head of a canal ʼ; WPah.śeu. mùtilde; ʻ mouth, ʼ cur. mū̃h; A. muh ʻ face ʼ, in cmpds. -- muwā ʻ facing ʼ; B. mu ʻ face ʼ; Or. muhã ʻ face, mouth, head, person ʼ; Bi. mũh ʻ opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing) ʼ; Mth. Bhoj. mũh ʻ mouth, face ʼ, Aw.lakh. muh, H. muhmũh m.; OG. muha, G. mɔ̃h n. ʻ mouth ʼ, Si. muyamuva. -- Ext. -- l<-> or -- ll -- : Pk. muhala -- , muhulla -- n. ʻ mouth, face ʼ; S. muhuro m. ʻ face ʼ (or < mukhará -- ); Ku. do -- maulo ʻ confluence of two streams ʼ; Si. muhulmuhunaa ʻ face ʼ H. Smith JA 1950, 179.; -- --  -- : S. muhao m. ʻ front, van ʼ; Bi. (Shahabad) mohā ʻ feeding channel of handmill ʼ. -- Forms poss. with expressive -- kkh -- : seemúkhya -- . -- X gōcchā -- s.v. *mucchā -- .mukhará -- , múkhya -- , maukhya -- ; *mukhakāṣṭha -- , *mukhaghāṭā -- , mukhacandra -- , *mukhajāla -- , *mukhanātha -- , mukhatuṇḍaka -- , *mukhatuttikā -- , *mukhadhara -- , mukhaśuddhi -- , *mukhahāra -- , mukhāgra -- , *mukhāñcala -- , *mukhānta -- , *mukhāyana -- ; amukhá -- , abhimukhá -- , āmukha -- , unmukha -- , *nirmukha -- ; adhōmukha -- , ūrdhvamukha -- , kālamukha -- , gṓmukha -- , caturmukha -- , *paścamukha -- , valīmukha -- , śilīmukha -- , saṁmukhá -- , *sāṁmukha -- , sumukha -- .Addenda: múkha -- : WPah.kṭg. (kc.) mū̃ (with high level tone) m. (obl. -- a) ʻ mouth, face ʼ; OMarw. muha ʻ face ʼ.(CDIAL 10158) Ta. muka (-pp-, -nt-), mukar (-v-, -nt-), mō (-pp-, -nt-) to smell; mōppam smell; nose (DEDR 4886) Ta. mukam face, mouth; Ka. moga face, mouth; Go. (G. Ma.) mukam, (M.) mukum id. (Voc. 2861); (A. S. Ko.) mokom id (Voc. 2972). Kona mokom id.;Kuwi (Su. P. Isr. F.) mūmbu, (S.) mūmbū, (Mah.) mūkā id. (DEDR 4889) Ko. mu·k nose, funnel of bellows; mu·kn man with long nose; fem. mu·ky. To. mu·k nose (in songs); Ko. mu·kï nose. Tu. mūku, mūgu, mūṅku nose, beak; Ta. mūkku nose, nostril, beak, nose-shaped part of anything; Te. mukku nose, beak, end, point, tip. Kol. muŋgaḍ (Kin.) mukk, (SR.)  mukku nose (DEDR 5024)
Rebus: mũh ‘ingot’ (Munda) mũh ʻ opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing) ʼ (Bihari)(CDIAL 10158)mleccha-mukha (Skt.) = copper; milakkha (Pali) mu~hu~ = face (S.) Rebus: mũh opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing)(Bi.) 


Hieroglyph: khōṇḍa ‘leafless tree’ (Marathi). Rebus 1: kõdār ’turner’ (Bengali) 
Ka. kōu horn, tusk, branch of a tree (DEDR 2200). Rebus 2: खोट [khōa] alloyed ingot (Marathi). ko ‘artisan’s workplace’. 

Hieroglyph: kut.i, kut.hi, kut.a, kut.ha a tree (Kaus'.); kud.a tree (Pkt.); kur.a_ tree; kar.ek tree, oak (Pas;.)(CDIAL 3228). kut.ha, kut.a (Ka.), kudal (Go.) kudar. (Go.) kut.ha_ra, kut.ha, kut.aka = a tree (Samskritam) kut., kurun: = stump of a tree (Bond.a); khut. = id.(Or.) kut.amu = a tree (Telugu)  Rebus: kuThi 'smelter'.

dhaṭu  m.  (also dhaṭhu)  m. ‘scarf’  (WPah.) (CDIAL 6707); 

Rebus: dhātu ‘mineral (Pali).
kola 'woman' (Nahali) kola 'tiger' Rebus: kol 'working in iron' kolhe 'smelter'

kuṭi 'tree' Rebus: kuṭhi 'smelting furnace‘; koṭe ‘forged metal’ (Santali)(Phonetic determinant of the twig on the horns of the woman ligatured to the tiger'

koDu 'horn' Rebus: koD 'workshop'

kolmo 'three' Rebus: kolimi 'smithy, forge'
tagaraka, tabernae montana 'flower', 'hair fragrance' Rebus: tagara 'tin'

Rebus 1: करडा [ karaḍā ] Hard fromalloy--iron, silver &c. Rebus 2: khara_di_ = turner (G.)

karuvu n. Melting: what is melted (Te.)कारु [ kāru ] m (S) An artificer or artisan. 2 A common term for the twelve बलुतेदार q. v. Also कारुनारु m pl q. v. in नारुकारु. (Marathi) कारिगर, कारिगार, कारागीर, कारेगार, कारागार [ kārigara, kārigāra, kārāgīra, kārēgāra, kārāgāra ] m ( P) A good workman, a clever artificer or artisan. 2 Affixed as an honorary designation to the names of Barbers, and sometimes of सुतार, गवंडी, & चितारी. 3 Used laxly as adj and in the sense of Effectual, availing, effective of the end. बलुतें [ balutēṃ ] n A share of the corn and garden-produce assigned for the subsistence of the twelve public servants of a village, for whom see below. 2 In some districts. A share of the dues of the hereditary officers of a village, such as पाटील, कुळकरणी &c. बलुतेदार or बलुता [ balutēdāra or balutā ] or त्या m (बलुतें &c.) A public servant of a village entitled to बलुतें. There are twelve distinct from the regular Governmentofficers पाटील, कुळकरणी &c.; viz. सुतार, लोहार, महार, मांग (These four constitute पहिली or थोरली कास or वळ the first division. Of three of them each is entitled to चार पाचुंदे, twenty bundles of Holcus or the thrashed corn, and the महार to आठ पाचुंदे); कुंभार, चाम्हार, परीट, न्हावी constitute दुसरी orमधली कास or वळ, and are entitled, each, to तीन पाचुंदे; भट, मुलाणा, गुरव, कोळी form तिसरी or धाकटी कास or वळ, and have, each, दोन पाचुंदे. Likewise there are twelve अलुते or supernumerary public claimants, viz. तेली, तांबोळी, साळी, माळी, जंगम, कळवांत, डवऱ्या, ठाकर, घडशी, तराळ, सोनार, चौगुला. Of these the allowance of corn is not settled. The learner must be prepared to meet with other enumerations of the बलुतेदार (e. g. पाटील, कुळ- करणी, चौधरी, पोतदार, देशपांड्या, न्हावी, परीट, गुरव, सुतार, कुंभार, वेसकर, जोशी; also सुतार, लोहार, चाम्हार, कुंभार as constituting the first-class and claiming the largest division of बलुतें; next न्हावी, परीट, कोळी, गुरव as constituting the middle class and claiming a subdivision of बलुतें; lastly, भट, मुलाणा, सोनार, मांग; and, in the Konkan̤, yet another list); and with other accounts of the assignments of corn; for this and many similar matters, originally determined diversely, have undergone the usual influence of time, place, and ignorance. Of the बलुतेदार in the Indápúr pergunnah the list and description stands thus:--First class, सुतार, लोहार, चाम्हार, महार; Second, परीट, कुंभार, न्हावी, मांग; Third, सोनार, मुलाणा, गुरव, जोशी, कोळी, रामोशी; in all fourteen, but in no one village are the whole fourteen to be found or traced. In the Panḍharpúr districts the order is:--पहिली or थोरली वळ (1st class); महार, सुतार, लोहार, चाम्हार, दुसरी or मधली वळ(2nd class); परीट, कुंभार, न्हावी, मांग, तिसरी or धाकटी वळ (3rd class); कुळकरणी, जोशी, गुरव, पोतदार; twelve बलुते and of अलुते there are eighteen. According to Grant Duff, the बलतेदार are सुतार, लोहार, चाम्हार, मांग, कुंभार, न्हावी, परीट, गुरव, जोशी, भाट, मुलाणा; and the अलुते are सोनार, जंगम, शिंपी, कोळी, तराळ or वेसकर, माळी, डवऱ्यागोसावी, घडशी, रामोशी, तेली, तांबोळी, गोंधळी. In many villages of Northern Dakhan̤ the महार receives the बलुतें of the first, second, and third classes; and, consequently, besides the महार, there are but nine बलुतेदार. The following are the only अलुतेदार or नारू now to be found;--सोनार, मांग, शिंपी, भट गोंधळी, कोर- गू, कोतवाल, तराळ, but of the अलुतेदार & बलुते- दार there is much confused intermixture, the अलुतेदार of one district being the बलुतेदार of another, and vice lls. (The word कास used above, in पहिली कास, मध्यम कास, तिसरी कास requires explanation. It means Udder; and, as the बलुतेदार are, in the phraseology of endearment or fondling, termed वासरें (calves), their allotments or divisions are figured by successive bodies of calves drawing at the कास or under of the गांव under the figure of a गाय or cow.) (Marathi)kruciji ‘smith’ (Old Church Slavic) 


Dance-step of a male dancer shown on a sculpture of Harappa. I suggest that this is an early representation of Mahes'vara as the cosmic dancer. See: http://bharatkalyan97.blogspot.in/2015/11/identity-ca-3500-bce-of-bharatam-janam.html

What is shown as a hypertext on a Bhirrana potsherd is also shown on a Mohenjo-daro bronze figurine of  a dancer's dance-step. The gloss is meḍ 'dance' (Remo); మెట్టు [meṭṭu] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు (Telugu)  Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.). It is notable that Bhirrana on the banks of River Sarasvati was an archaeological settlement with continuous settlement from ca. 7th millennium BCE.
Why is a 'dancing girl' glyph shown on a potsherd discovered at Bhirrana? Because, dance-step is a hieroglyph written as hypertext cipher.

Dance step of Gaṇeśa shown on a sculptural friezed of Candi Sukuh:
Dansende Ganesha & geboorte van de walvis
Forge scene stele.  Forging of a keris or kris (the iconic Javanese dagger) and other weapons. The blade of the keris represents the khaṇḍa,'sword' rebus: khaṇḍa 'equipment'. Fire is a purifier, so the blade being forged is also symbolic of the purification process central theme of the consecration of gangga sudhi specified in the inscription on the 1.82 m. tall, 5 ft. dia.  lingga hieroglyph, the deity of Candi Sukuh. 

The readings of hypertexts on Kalibangan potsherd and on Candi Sukuh sculptural frieze are: me 'dance', 'dance-step' rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Miedź, med' (Northern Slavic, Altaic) 'copper'.
 













Itihāsa. Dharma: Cultural history of humankind, a book yet to be written

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Cover Indigenous Sustainable Wisdom

Indigenous Sustainable Wisdom

First-Nation Know-How for Global Flourishing

Edited By Darcia Narvaez, Four Arrows (Don Trent Jacobs), Eugene Halton, Brian S Collier and Georges Enderle

Indigenous Sustainable Wisdom: First Nation Know-how for Global Flourishing's contributors describe ways of being in the world that reflect a worldview that guided humanity for 99% of human history: They describe the practical traditional wisdom that stems from Nature-based relational cultures that were or are guided by this worldview. Such cultures did not cause the kinds of anti-Nature and de-humanizing or inequitable policies and practices that now pervade our world. Far from romanticizing Indigenous histories, Indigenous Sustainable Wisdom offers facts about how human beings, with our potential for good and evil behaviors, can live in relative harmony again. Contributions cover views from anthropology, psychology, sociology, leadership, native science, native history, and native art. 
Until relatively recently in human history, most people had a sense of a living Earth. We understood trees, forests, rivers, mountains,humans, animals and plants as living, sentient neighbors and community members. This worldview promoted an authentic concern for the mutual well-being of all. As can be seen among today’s Indigenous peoples who act to save the Amazon rainforest, humans evolved to be deeply connected, relationally and responsibly attuned to the natural world around them — otherwise they perished. In his bookBeyond Nature and Culture, anthropologist Philippe Descola documents the unique integration of culture and nature around the world in non-industrialized societies not overtaken by unfettered capitalism’s globalization.
We honor Indigenous traditional cultures and peoples with a commitment to reclaim this legacy and way of understanding our symbiotic relationships and interconnectedness as members of a sacred and living Earth. In light of the recent United Nations report on extinction rates that reveals how Indigenous worldview, not technology, is the key to rebalancing our ecological systems, such a commitment is crucial. What can we do to reclaim our original worldview? What can we do to help today’s Indigenous peoples with their struggles to protect their land, language and sovereignty?
Author and educator C.A. (Chet) Bowers describes how the industrialized world takes for granted several root metaphors that act like a straitjacket on thought and action. As anthropologist Marshall Sahlins pointed out, individualism, self-interest, linear progress, centrality and superiority of human beings, positivism (the need for an experiment to know anything), and belief in an insensate natural world are all considered strange by human societies around the world. All indicate a human orientation disconnected from grounding in the Earth.
Why do these notions seem logical to industrialized humans? Contemporary industrialized nations by and large undermine the development of human capacities, toxically stressing children and adults, leading to disconnection. Our research shows the importance of humanity’s evolved nest (Evolved Developmental Niche), which matches up with the high immaturity and needs of human children in the first years of life when neurobiological systems are shaped by social experience. The nest includes responsive calming care by multiple adults, years of on-request breastfeeding, frequent affectionate touch, extensive play, relational connection and social support. All these foster health and well-being, sociality, and morality through epigenetics and other plasticity effects in early life. Nature connection and ecological intelligence are part of our heritage as well, and are critical for sustainable living. But parents in industrialized nations are encouraged (and often forced) to deny babies and children what they evolved to need, establishing neurobiologically aberrant trajectories and long-term ill-being, dysregulation and disconnection.
Nature connection is apparent in all “non-civilized” groups around the world and was integral throughout the existence of our species. The fact that “civilized” humans, a type of society around for only 1 percent of the human genus’s existence, are disconnected from nature shows the unsustainability of civilization as we know it. As First Nation peoples know, disconnection is at the root of destructive acts.
As researchers, we lament how ignorant Western scholarship and media generally are about this nature-connected history. Humanity spent over 90 percent of its history as small-band, hunter-gatherer societies, living close to and cooperatively with one another and the Earth, with concern for future generations. Humanity would have died off without what we can refer to as our “Indigenous worldview.” As mentioned above, recent United Nations extinction rate report refers to the disregard for this worldview as the major reason for current ecological disasters, and notes that where the Indigenous worldview is operating today, thriving biodiversity is maintained.
Scholars routinely pick out or sort societies of the past in ways that make them look primitive or violent. They call any positive descriptions of our non-civilized history “romantic.” But the real romanticism is apparent in our unquestioning support for the path we are on, the one that assumes we can continue to extract from the Earth without penalty or limit.
Western science does not promote ecological attachment, though some come to the sciences from an enchantment with nature. Instead, Western science and scholarship encourage detachment and “objectivity” (relational disconnection) with what is studied. In either case, the ecological crisis cannot be solved by continuing intellectual discussions. Even Western scientists are coming to realize that to act responsibly toward the natural world, one must care about it in a relational manner, as Indigenous science and worldview promotes. One must feel and act connected to the Earth. Efforts to restore nature connection and “rewild” human nature are spreading. Awareness of and respect for the intelligence of animalsplants and insects are increasing.
Importantly, societies who hold an Indigenous worldview, including American Indian/Alaskan Native societies, have long prioritized “the seventh generation” and have done so with both heart and mind. Those who, against all odds, still hold onto this wisdom continue to put their lives on the line for future generations, as occurred with the Standing Rock protests against the Dakota Access Pipeline.
Humanity’s future depends on re-embracing the Indigenous worldview, its grounding in connectedness and its foundational love for all diversity. This a human heritage that we can restore and live out. We can revive a “common memory” of our species on the Earth and reshape the foundations of our governments and institutions, as U.S. Independent presidential candidate and member of the Navajo Nation Mark Charles advises. Charles, who identifies also a Christian, articulates a decolonizing agenda as necessary for relearning how to take care of our common home, Planet Earth, as Pope Francis has advocatedIn fact, the recent Pan-Amazon Synod of Bishops in Rome, guided by Indigenous wisdom, not only acknowledges the church’s historical role in colonizing lands, peoples and cultures of the Amazon, it also refers to the imposition of Western culture onto Indigenous worldviews.
If we have come to a time when the Catholic Church — whose policies initiated the onslaught against our Indigenous way of being in the world — can now address decolonization and Indigenous worldview, perhaps we should make every day Indigenous Peoples’ Day. To remind us of who and where we are, we can begin to learn how to reclaim our more authentic worldview for education and survival.
 Wahinkpe Topa (Four Arrows), AKA Don Trent Jacobs, is currently a professor in the School of Leadership Studies at Fielding Graduate University. A made-relative of the Oglala Medicine Horse Tiospaye, he served as director of education at Oglala Lakota College on Pine Ridge where he fulfilled his Sun Dance vows. Named one of 27 “visionaries in education” by the Alternative Education Resource Organization, and recipient of a Martin Springer Institute’s Moral Courage Award for his activism, he has authored/edited 20 books and numerous chapters/articles on Indigenous worldview.  Darcia Narvaez is Professor of Psychology at the University of Notre Dame. She focuses on moral development and flourishing from an interdisciplinary perspective. Author of dozens of publications, she has authored or edited more than 20 books. One of her recent books, Neurobiology and the Development of Human Morality: Evolution, Culture and Wisdom won the 2015 William James Book Award from the American Psychological Association and the 2017 Expanded Reason Award. She writes a popular blog for Psychology Today (“Moral Landscapes”) and hosts the webpage EvolvedNest.org.  UN Report Says Indigenous Sovereignty Could Save the Planet Earth’s resources are most protected in areas that enjoy some autonomy from global forces, the report says. 
Violence Against Indigenous People Is Rising Across the World Leaders like Trump and Brazil’s Bolsonaro are collaborating with perpetrators of violence against Natives. 
Can Adopting a Complementary Indigenous Perspective Save Us? We cannot afford to ignore or dismiss the perspective that has guided us for most of human history. 

छनच्छन् 'drop-by-drop'म्लेच्छित, म्लिष्ट विकल्पजाल of Indus Script Cipher of 'unicorn' --khōṇḍa singi ornament gold, metal

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https://tinyurl.com/y65n73jm

This monograph posits that the expression म्लेच्छित विकल्प which describes the Indus Script is provided by Vātsyāyana.as one of the three arts taught to youth; the other two arts are: akara muika kathanam, deśabhāājnānam (messaging through wrist-finger gestures, knowledge of dialects).

Taking the example of spiny-horned young bull, the so-called 'unicorn', decipherment process is demonstrated using the underlying cipher. The rebus reading is खोंड  khōṇḍa 'young bull, a bullcalf' of  खोडसाळ khōḍasāḷa 'metal workshop', ebus: खोंड  khōṇḍa 'metal' of PLUS singi 'ornament gold'. Thus, the pictorial motif of 'unicorn' signifies ornament-gold,metal..The workshop is described by the standard device: kunda 'lathe' rebus: kunda 'fine gold' PLUS kammata 'portable furnace' rebus: kammata 'mint, coiner, coinage'.

The writing system related to the activities of खोडसाळ khōḍasāḷa 'metal workshop', exemplified by खोंड  khōṇḍa m A young bull, a bullcalf. 

I submit that Indus Script Cipher has defied decipherment for over 140 years since the first seal was found at Harappa before 1872 primarily because the orthography, semantics and pragmatics could not be successfully related to the parole, spoken language of the Sarasvati Civilization. Since the Indus Script inscriptions are documented in very small objects such as miniature tablets of Harappa of the size of a thumb-nail, विकल्पजाल, the net of hieroglyphs and hypertexts architecturted by ligatured hieroglyphs (e.g. composite animal or 

Sign 418 which is composed a number of hieroglyphs such as water-carrier -- body fused like a fish, rude harrow, rim-of-jar and a small ingot shape). This विकल्पजाल 'a net of alternative combinations' renders the script to be a stunningly precise cipher, providing a medium to convey messages composed of spoken words and even expressions.

This Sign 418 occurs on a Kalibangan terracotta two-sided tablet.


Kalibangan terracotta inscription K079

Kalibangan 079
Kalibangan Terracotta object K-79 with incised hieroglyphs


 Many attempts at deciherment have floundered on pre-conceived assumptions of syllabic nature of the 'signs' (thus, ignoring the pictorial motifs which dominate the inscription space) and syntactic nature of messaging. Bahata Ansumali Mukhopadhyaya has demonstrated that the patterns realized from a review of the Indus Script Corpora indicates that the cipher cannot be syllabic but has to be lexemic, logographic or logosemantic. Most importantly, many decipherment claims have failed to realize that the pictorial motifs or field symbols such as 'unicorn' or 'one-spiny-horned young bull with pannier, rings on neck, heart-sign on the belly) are integral part of the cipher or messaging system and had to be deciphered using the underlying cipher of the writing-cum-messaging system signified by विकल्पजाल ..

Image result for first indus sealFirst Indus Script seal discovered at Harappa before 1872

chanacchan छनच्छन् 
ind. An imitative sound, expressive of the noise of falling drops &c; छनच्छनिति बाष्पकणाः पतन्ति (छमच्छमिति v. l.)(Amarusataka.86)


म्लेच्छित mfn. = म्लिष्ट mfn. spoken indistinctly or barbarously (पाणिनि7-2 , 18)

विकल्पजाल n. a number of possible cases , dilemma(तैत्तिरीय-प्रातिशाख्य सर्वदर्शन-संग्रह Sāyaṇa) 
विकल्प   vi-kalpa alternative, option: combination, contrivance; variety; distinction (rare); indecision, hesitation, doubt; false notion, fancy: in. optionally: -gâla, n. number of possible cases; -kalpana, n., â, f. allowing an option; distinction; false notion or assumption; -kalpanîya, fp. to be ascertained; -kalpayitavya, fp. to be put as an alternative; -kalpa-vat, a. undecided, doubtful; -kalpa̮an-upapatti, f. untenableness owing to a dilemma; -kalpa̮asaha, a. not standing the test of a dilemma: -tva, n. untenableness owing to a dilemma; -kalpitatva, n. optionalness; -kalpin, a (hair) liable to be mistaken for (black Asoka flowers, --°); -kalpya, fp. to be distributed; -- calculated; -- chosen according to circumstances.

विकल्पजाल gets compounded by the spoken expressions used as cipher. In the traditions continuum of Sarasvati Civilization,  म्लिष्ट is the nature of the spoken expressions. This  म्लिष्ट  signifies myriad pronunciation variants in many successor languages of the civilization which provide lexical and semantic evidences to match the hieroglyphs and hypertexts of the cipher.

 म्लिष्ट nature is best exemplified by the most common messages seen on Indus Script Corpora. These common messages (with orthographic variants or विकल्पजाल) are:

1. Spiny-horned young bull (with orthographic emphasis on pannier on the shoulder, rings on neck, hear-shaped pictograph on belly)
2. Standard device (composite of lathe on top register, portable furnace on bottom register) carried on a flagstaff; at times, the bottom register portable furnace is ligatured with dotted circles and indicators of smoke emanating from the furnace)
3. Rim of jar (rim PLUS narrow-necked jar)

What do these three cyphertexts convey? How to derive the plaintexts of the spoken language of the civilization? This is the decipherment challenge.

The challenge is joined by identifying words and expressions evidenced on spoken forms of Ancient Indian languages. The spoken forms or parole bristles with pronunciation variants as demonstrated below with evidence of lexical entries of Indian sprachbund (language union) or linguistic area. The objective is to expand on Vātsyāyana's reference to deśabhāājnānam. to relate the म्लेच्छित, म्लिष्ट words or expressions or phrases to the hieroglyphs or  विकल्पजाल |

This monograph focusses on tand provides the process of deciphering the ciphertext of spiny-horned young bull.

As has been demonstrated, the writing system's scribes evidence many orthographic tricks, exemplified by the semantics: खोडकर   khōḍakara a (खोड q. v.) Mischievous, full of tricks and pranks.खोडसर   khōḍasara a unc खोडसा a unc Mischievous &c. खोडाळ, खोडील, खोडेल, खोड्या, खोड्यारा, खोड्याळ   khōḍāḷa, khōḍīla, khōḍēla, khōḍyā, khōḍyārā, khōḍyāḷa See खोडकर.खोडाळी   khōḍāḷī f (खोडाळ) Mischievous or troublesome pranks or tricks.

The scribe is engaged in metal workshop: खोडसाळ   khōḍasāḷa a Properly खोटसाळ.खोटसाळ   khōṭasāḷa a (खोट & साळ from शाला) Alloyed--a metal.

खोंड khōṇḍa m A young bull, a bullcalf.

Semantic determinatives of this word signifier for a bullcalf are the pannier on the bull's shoulder
 
खोंडरूं   khōṇḍarūṃ n A contemptuous form of खोंडा in the sense of कांबळा-cowl. खोंडी   khōṇḍī f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) See under खुंडी. खोंडा   khōṇḍā m A कांबळा of which one end is formed into a cowl or hood. 2 fig. A hollow amidst hills; a deep or a dark and retiring spot; a dell. 

In a remarkable orthographic frieze of a marble narrativeof Mari, the young-bull with a spiny, one horn is held on a flagstaff of holcus sorghum.खोंड khōṇḍa, खुंडी which is a variety of holcus sorghum, a semantic determinative of the word signifier खोंड khōṇḍa for a bullcalf 

The rein on top of the flagstaff which is the platform for the one-spiny-horned young bull is: 
káśā f. ʻwhipʼ RV., ʻ rein ʼ Śiś., ʻstringʼ lex., kaśa -- m. ʻ whip, thong ʼ MBh.
Pa. kasā -- f. ʻ whip ʼ; Pk. kasā -- f., ˚sa -- m., ˚siā -- f., ˚sia -- n. ʻ whip, thong ʼ;  Or. kasa ʻ rope ʼ; H. kasī˚saī˚seīkesaī f. ʻ rope used in land measurement ʼ; OMarw. kasa ʻ string ʼ; G. kas ʻ tape of a bodice ʼ; M. kasā m. ʻ cord, tie of a garment ʼ; Si. kasaya˚se ʻ whip ʼ. -- Deriv.: Or. kasibā ʻ to whip ʼ; -- OMarw. kasaï ʻ binds, harnesses ʼ, M. kasṇẽ ʻ to bind tightly with a cord ʼ(CDIAL 2965)
kas 'rein' rebus: G.kãsārɔ, kas m. ʻcoppersmith'. Thus, the orthography of the pictorial narratives on Mari procession signify a L. awāṇ. kasērā ʻ metal worker ʼ, P. kaserā m. ʻ worker in pewter ʼ (both ← E with -- s -- ); N. kasero ʻ maker of brass pots ʼ; Bi. H. kaserā m. ʻ worker in pewter ʼ. 

2987 kāˊṁsya ʻ made of bell -- metal ʼ KātyŚr., n. ʻ bell -- metal ʼ Yājñ., ʻ cup of bell -- metal ʼ MBh., ˚aka -- n. ʻ bell -- metal ʼ. 2. *kāṁsiya -- . [kaṁsá -- 1]1. Pa. kaṁsa -- m. (?) ʻ bronze ʼ, Pk. kaṁsa -- , kāsa -- n. ʻ bell -- metal, drinking vessel, cymbal ʼ; L. (Jukes) kã̄jā adj. ʻ of metal ʼ, awāṇ. kāsā ʻ jar ʼ (← E with -- s -- , not ñj); N. kã̄so ʻ bronze, pewter, white metal ʼ, kas -- kuṭ ʻ metal alloy ʼ; A. kã̄h ʻ bell -- metal ʼ, B. kã̄sā, Or. kãsā, Bi. kã̄sā; Bhoj. kã̄s ʻ bell -- metal ʼ, kã̄sā ʻ base metal ʼ; H. kāskã̄sā m. ʻ bell -- metal ʼ, G. kã̄sũ n., M. kã̄sẽ n.; Ko. kã̄śẽ n. ʻ bronze ʼ; Si. kasa ʻ bell -- metal ʼ.2. L. kã̄ihã̄ m. ʻ bell -- metal ʼ, P. kã̄ssīkã̄sī f., H. kã̄sī f.*kāṁsyakara -- , kāṁsyakāra -- , *kāṁsyakuṇḍikā -- , kāṁsyatāla -- , *kāṁsyabhāṇḍa -- .Addenda: kāˊṁsya -- : A. kã̄h also ʻ gong ʼ, or < kaṁsá -- .   2988 *kāṁsyakara ʻ worker in bell -- metal ʼ. [See next: kāˊṁsya -- , kará -- 1]L. awāṇ. kasērā ʻ metal worker ʼ, P. kaserā m. ʻ worker in pewter ʼ (both ← E with -- s -- ); N. kasero ʻ maker of brass pots ʼ; Bi. H. kaserā m. ʻ worker in pewter ʼ.   2989 kāṁsyakāra m. ʻ worker in bell -- metal or brass ʼ Yājñ. com., kaṁsakāra -- m. BrahmavP. [kāˊṁsya -- , kāra -- 1]N. kasār ʻ maker of brass pots ʼ; A. kãhār ʻ worker in bell -- metal ʼ; B. kã̄sāri ʻ pewterer, brazier, coppersmith ʼ, Or. kãsārī; H. kasārī m. ʻ maker of brass pots ʼ; G. kãsārɔkas˚ m. ʻ coppersmith ʼ; M. kã̄sārkās˚ m. ʻ worker in white metal ʼ, kāsārḍā m. ʻ contemptuous term for the same ʼ.   2990 *kāṁsyakuṇḍikā ʻ bell -- metal pot ʼ. [kāˊṁsya -- , kuṇḍa -- 1]N. kasaũṛi ʻ cooking pot ʼ.   2991 kāṁsyatāla m. ʻ cymbal ʼ Rājat. [kāˊṁsya -- , tāla -- 1]Pa. kaṁsatāla -- m. ʻ gong ʼ; Pk. kaṁsālā -- , ˚liyā -- f. ʻ cymbal ʼ, OB. kaśālā, Or. kãsāḷa; G. kã̄sāḷũ n. ʻ large bell -- metal cymbals ʼ with ã̄ after kã̄sũ ʻ bell -- metal ʼ; M. kã̄sāḷ f. ʻ large cymbal ʼ; -- Si. kastalaya ʻ metal gong ʼ (EGS 40) is Si. cmpd. or more prob. ← Pa.   2992 *kāṁsyabhāṇḍa ʻ bell -- metal pot ʼ. [kāˊṁsya -- , bhāṇḍa -- 1]Pa. kaṁsabhaṇḍa -- n. ʻ brass ware ʼ; M. kāsã̄ḍī˚sãḍī f. ʻ metal vessel of a partic. kind ʼ.
 
खोंड khōṇḍa A variety of जोंधळा. खोंडा   khōṇḍā (also खोंडी & खोंडें) A variety of जोंधळा. खोंडें   khōṇḍēṃ n A description of जोंधळा. It is grown in the hot weather on garden-land. जोंधळा (p. 187) jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप etc. (Marathi)

Why is the young bull decorated with a spiny horn,making it look like a 'unicorn'?

While the word kunda 'fine gold' sounds like a homonym (similar sounding word) of खोड in खोडसाळ 'metal workshop', the spiny horn signifies rebus: 

(Santali)  शृङ्गिन्   śṛṅgin शृङ्गिन् a. (-णी f.) [शृङ्गमस्त्यस्य इनि] 1 Horned. -2 Crested, peaked. -m.A bull; शङ्ग्यग्निदंष्ट्र्यसिजलद्विजकण्टकेभ्यः Bhāg.1.8.25.शिंगी   śiṅgī f (Dim. of शिंग) A little blowing horn (as of the कानफाट्या गोसावी).

Rebus:  शृङ्गिः śṛṅgiḥ शृङ्गिः Gold for ornaments.
  
शिंग   śiṅga n (शृंग S) A horn. Pr. म्हशीचीं शिंगें म्हशीस जड नाहींत. 2 A horn or cornet. शिंगावर घेणें To oppose or meet (a trouble or an evil) manfully; to battle with; furcâ expellere. Ex. आलें अंगावर घेतलें शिंगावर. शिंगें मोडून वासरांत शिरणें To behave or act childishly. 2 To conceal one's knowledge and simulate the simplicity of childhood. शिंगट   śiṅgaṭa n (A contemptuous form of शिंग) A horn of a dead beast, a broken horn &c. 2 A horn filled with gunpowder; to be exploded. शिंगटणें   śiṅgaṭaṇēṃ v c (शिंग) To toss, gore, or strike with the horns. शिंगाळ śiṅgāḷa a C (शिंग) That has a trick of butting--a bullock &c. 2 fig. Used of a fellow mischievous or troublesome to all around him; a general pest. 3 That has large or long horns.   शिंगाळणें   śiṅgāḷaṇēṃ v c (शिंगाळ) To toss, gore, or strike with the horns.    शिंगाळू   śiṅgāḷū a (शिंग) Of shotten or sprouted horns--a young ram, buck &c. 2 Given to butting. 3 Having large or long horns.

Spoked wheel in Meluhha is tsarkh 'potter's wheel'अर्क 'the sun, copper', agasāla 'goldsmith workshop'

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Susa tablet with Shamash shows a spoked wheel with four spokes and sun's rays to signify four seasons caused by the Sun. Shamash is linked with the Vedic tradition. See: 

 

In the Veda tradition, the Sun causes six seasons, hence the use of the word 

'six'.This also explains why arka 'sun' is signified on a spoked wheel six spokes, as distinct from the four spokes shown on Shamash's solar wheel.


āre ‘potter's wheel’ rebus: āra ‘brass’; څرخ ṯs̱arḵẖ, 'potter's wheel'; eraka 'knave of wheel' rebus: arka, aka 'gold, copper'; eraka 'metal infusion'.


   څرخ ṯs̱arḵẖ, s.m. (2nd) (P چرخ). 2. A wheeled-carriage, a gun-carriage, a cart. Pl. څرخونه ṯs̱arḵẖūnah   څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's, or of a water-mill or well). 2. A grindstone. 3. Circular motion, turn, revolution, the act of turning. 4. Fortune, chance. 5. The heavens, the sphere, the celestial globe. 6. A kind of hawk or falcon, an eagle. 7. A stab, a puncture, a prick, a wound produced by a spear, an arrow, or the like. Pl. څرخرنه ṯs̱arḵẖ-ūnah; 8. adj. Punctured, pricked, pierced, stabbed; (Fem.) څرکه ṯs̱arkaʿhڅرخیدل ṯs̱arḵẖedal, verb intrans. To revolve, to turn round, to wheel. 2. To dance. Pres. څرخبږي ṯs̱arḵẖej̱ẕī (W.) or څرخیګي ṯs̱arḵẖegī (E.); past ؤ څرخیده wu-ṯs̱arḵẖedah or ؤ څرخیدَ wu-ṯs̱arḵẖeda; fut. ؤ به څرخیږي wu bah ṯs̱arḵẖej̱ẕī or ؤ به څرخیګي wu bah ṯs̱arḵẖegī; imp. ؤ څرخیږه wu-ṯs̱arḵẖej̱ẕah or ؤ څرخیګه wu-ṯs̱arḵẖegah; act. part. څرخیدونکيَ ṯs̱arḵẖedūnkaey or څرخیدونيَ ṯs̱arḵẖedūnaey; past part. څرخید ليَ ṯs̱arḵẖedalaey; verb. n. څرخیدنه ṯs̱arḵẖedanaʿhڅرخول ṯs̱arḵẖawul, verb trans. To turn, to make revolve, to wheel round. 2. To sharpen. Pres. څرخوي ṯs̱arḵẖawī; past ؤ څرخاوه wu-ṯs̱arḵẖāwuh or ؤ څرخاوو wu-ṯs̱arḵẖāwo; fut. ؤ به څرخوي wu bah ṯs̱arḵẖawī; imp. ؤ څرخوه wu-ṯs̱arḵẖawah; act. part. څرخوونکيَ ṯs̱arḵẖawūnkaey or څرخوونيَ ṯs̱arḵẖawūnaey; past part. څرخوليَ ṯs̱arḵẖawulaey; verb. n. څرخونه ṯs̱arḵẖawunaʿh. (P چرخ).
   څرخ کول ṯs̱arḵẖ kawul, verb trans. To pierce, to stab, to puncture. څرخ کیدل ṯs̱arḵẖ kedal, verb intrans. To enter (as a pointed instrument), to penetrate, to stab, to pierce.
   څرخه ṯs̱arḵẖaʿh, s.f. (3rd) A spinning-wheel, a large reel. Pl. يْ ey. (P چرخه).
   څرخيَ ṯs̱arḵẖaey, s.m. (1st) A kind of reel for winding cotton on, a ball of cotton, silk, etc. 2. A species of falcon. Pl. يِ ī. See څاښي
   څرخلګيَ ṯs̱arḵẖal-gaey, s.m. (1st) A piece of wood, stone, etc., on which thread is wound, a reel. Pl. يِ ī. Also څرخلرګيَ ṯs̱arḵẖ- largaey. Pl. يِ ī.
   څرخندوکيَ ṯs̱arḵẖandūkaey, s.m. A tee-totum, a child's top. Pl. يِ ī. See لاډو ,چرلندي and چلخئِي (Pashto)





अर्क  'the sun, copperm. ( √ अर्च्) , Ved. a ray , flash of lightning RV. &c; fire RV. ix , 50 , 4 S3Br. Br2A1rUp. (Monier-Williams) arká1 m. ʻ flash, ray, sun ʼ RV. [√arc]Pa. Pk. akka -- m. ʻ sun ʼ, Mth. āk; Si. aka ʻ lightning ʼ, inscr. vid -- äki ʻ lightning flash ʼ.(CDIAL 624) *arkavarta ʻ a sort of ornament ʼ. [Cf. arkapuṭikā -- f. ʻ a silver ornament consisting of a round disk like the sun ʼ lex.: arká -- 1, *varta -- 3]G. akɔṭī f. ʻ earring ʼ.(CDIAL 628) (Note:the Pashto word ṯs̱arḵẖ may explain the various semantic expressions listed in Annex. Cakra and examples of semantic expansions). 

Terracotta wheels with painted spoked designs from Dholavira dated to mature Harappan era.
See also : https://new-indology.blogspot.com/2016/12/the-wheel-from-mehrgarh-to-vedas-and.html?fbclid=IwAR31a5qXdxM7hBoCFpRf34-Mih7NsjnWv3PojJKxk_4J3RgT4e8oYR7btGY
Shamash on Susa tablet. Sun symbol.

No photo description available.


On November 15th, 2016 an article has been published on Nature Communications about a copper amulet (see the photo above) from Mehrgarh, Baluchistan, presented as the earliest object produced through the lost-wax technique.
Terracotta wheels from Banawali and Rakhigarhi, Mature Harappan period
Terracotta wheels from Bhirrana, Mature Harappan period
Plano convex molded tablet 
discovered in Harappa, 1997.
Image result for dholavira signboardAn artist's reconstruction of the signboard on a gateway of Dholavira citadel.
Image result for dholavira signboard
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Dholavira signboard. Four spoked wheels in the text of 10 signs. Each sign is about 37 cm (15 in) high and the board on which letters were inscribed was about 3 m (9.8 ft) long. (Possehl, Gregory. (2004). The Indus Civilization: A contemporary perspective, New Delhi: Vistaar Publications, p.70.)

Dholavira signboard is a proclamation of the message in 3 segments: 

copper, gold metal infusion mint; metal scribe; 
bell-metal, mineral ore workshop; 
copper, gold, mineral ore metalcastings, artisan.

Segment 1:

arka 'sun' rebus: arka 'gold, copper'; eraka 'metal infusion'

*skabha ʻ post, peg ʼ. [√skambh]Kal. Kho. iskow ʻ peg ʼ BelvalkarVol 86 with (?).(CDIAL 13638) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mintKa. kammaṭa id.; kammaṭi a coiner. Thus, the pin signifies: kolhe kammaṭa 'smelter mint' (product)

 loa 'ficus glomerata' Rebus: loha 'copper, iron'.PLUS karna 'ear' rebus: karana 'scribe'

Segment 2:

arka 'sun' rebus: arka 'gold, copper'; eraka 'metal infusion'

Sign 267 kanac (kana, kana kona) mũhã̄ 'corner ingot' rebus: kancu 'bell-metal'

dāṭu 'cross' Rebus: dhatu 'mineral ore'.

koḍa 'one'(Santali) Rebus: koḍ 'artisan's workshop'.

Segment 3:

arka 'sun' rebus: arka 'gold, copper'; eraka 'metal infusion' PLUS dula 'pair' rebus: dul 'metal casting' Thus, copper, gold metalcastings.

ḍato 'claws or pincers (chelae) of crab Rebus: dhatu 'mineral' (Santali).kāru 'pincers' rebus: kāru 'artisan'


Annex. Cakra and examples of semantic expansions

   4538 cakrá m.n. ʻ wheel ʼ RV., ʻ potter's wheel ʼ ŚBr., ʻ oil mill ʼ Mn., ʻ circle ʼ R., cakrīˊ -- f. ʻ wheel ʼ RV.Pa. cakka -- n. ʻ wheel ʼ, Pk. cakka -- , ˚aya -- n.; Kho. (Lor.) č*lkvr ʻ spinning wheel ʼ (with *l for o fr. č*lxvr ← Ir. BSOS viii 660); Sh. gil. čărkŭ m. ʻ wheel, spinning wheel ʼ, (Lor.) gil. čurūk, gur. čorōk ʻ buttocks ʼ (→ Ḍ. čərōk); K. ċakhar, dat. ˚kras m., ċạkhürü f. ʻ wheel ʼ; S. caku m. ʻ potter's wheel ʼ, ˚kī f. ʻ hand -- mill ʼ; L. cakkar m. ʻ wheel ʼ, awāṇ. cakkur; P. cakkar m. ʻ circuit, ring ʼ, cakk m. ʻ potter's wheel ʼ; WPah. cakkī ʻ mill ʼ; Ku. cāk(h) ʻ bunch of bananas ʼ, cāk(h)o ʻ hand -- mill ʼ, gng. ċak(h) ʻ stone -- mill ʼ; N. cāk ʻ buttocks ʼ (semant. cf. Sh. above, Pk. cakkāāra -- as epithet of ʻ buttock ʼ and K. s.v. cakrala -- ), cāko ʻ anything round ʼ, mah ko c˚ ʻ honeycomb ʼ; A. sāk ʻ potter's wheel ʼ, sākā ʻ wheel ʼ, ˚ki ʻ small round bunch of flowers ʼ; B. cāk ʻ wheel, comb or hive of bees or wasps ʼ, cākā ʻ wheel ʼ, ˚kī ʻ grindstone ʼ; Or. caka ʻ wheel, potter's wheel ʼ, cakā ʻ round stone ʼ, cakī ʻ mill -- stone ʼ; Bi. cāk ʻ wheel, potter's wheel ʼ, (Gaya) cakkā ʻ wheel ʼ; Mth. cāk ʻ wheel, potter's wheel, pastry board ʼ; Bhoj. cāk ʻ wheel ʼ; Aw. lakh. cakiā ʻ stone -- mill ʼ; H. cāk m. ʻ any kind of wheel, millstone ʼ (mau -- cāk m. ʻ honeycomb ʼ), cākā m. ʻ wheel, sod of turf ʼ, cākī f. ʻ millstone ʼ; G. cāk m. ʻ wheel, potter's wheel, millstone ʼ, ˚kī f. ʻ circular piece fixed in axle ʼ, ˚kũ n. ʻ a thick roundish mass ʼ; M. ċāk n. ʻ wheel ʼ, ˚kī f. ʻ circular flat piece of metal ʼ; Ko. ċāka n. ʻ wheel ʼ; Si. saka ʻ wheel, circle ʼ.cakraka -- , cakrala -- , cakriṇī -- , cakríya -- , cākrika -- ; *cakracāra -- , cakranakha -- , cakranābhi -- , *cakrapati -- , *cakrapattra -- , cakramarda -- , *cakrayaṣṭi -- , cakravartin -- , cakravāṭa -- , cakravyūha -- .Addenda: cakrá -- : S.kcch. cakk m. ʻ potter's wheel ʼ, WPah.kṭg. ċɔkkər m., J. cakkar m. prob. ← P. Him.I 89; Garh. cāk; -- Ko. ċāka rather ʻ slice ʼ.†cakrin -- .   4539 cakraka ʻ circular ʼ W. [cakrá -- ]Pk. cakkāga -- , Or. cakā, H. cākā.   4541 *cakracāra ʻ course of a wheel ʼ. [Cf. cakracārin- ʻ flying in a circle ʼ Hariv. -- cakrá -- , cāra -- 1]M. cakārī f. ʻ wheel rut, wheeling round (of a carriage) ʼ.   4542 cakranakha m. ʻ the perfume Unguis odoratus ʼ. [cakrá -- , nakhá -- ]
Si. sakniya ʻ a partic. drug ʼ.   4543 cakranābhi f. ʻ hub of wheel ʼ Suśr. [cakrá -- , nāˊbhi -- ]
Si. saknäba ʻ hub ʼ.   4544 *cakrapati ʻ universal ruler ʼ. [cakrá -- , páti -- ]
Pk. cakkavaï -- (→ OAw. cakkavaï ʻ universal sovereign ʼ); G. cakve adv. ʻ as sole ruler ʼ.
   4547 *cakrayaṣṭi ʻ stick for potter's wheel ʼ. [cakrá -- , yaṣṭí -- ]
Bi. cakaiṭh ʻ pointed stick with which potter twirls his wheel ʼ, H. cakeṭh m.
   4548 *cakrala ʻ circular ʼ. [Poss. MIA. cakkala -- ʻ round ʼ Uṇ. < *cakla -- ~ cakrá -- ]Pa. cakkalaka -- m. ʻ disc, tuft ʼ; Pk. cakkala -- ʻ round, extensive ʼ, n. ʻ circle ʼ; Kho. čókul ʻ avalanche of stones ʼ (< *cakla -- BelvalkarVol 88); K. ċakul m. ʻ anything circular ʼ, ċaküjü f. ʻ buttock, hip ʼ; S. cakaru m. ʻ circle ʼ; L. cakkul m. ʻ horizontal wheel of well gear ʼ, cakklī f. ʻ vertical do. ʼ, awāṇ. caklī ʻ wheel ʼ; P. caklā ʻ round, wide ʼ, m. ʻ open square in city, district, brothel ʼ, cakklī f. ʻ roundness, pastry board ʼ (→ S. cakulo m.); Ku. cāklo ʻ broad ʼ; N. cāklo ʻ thick, dense ʼ; A. sākli ʻ any flat circular thing, coin ʼ; B. cāklā ʻ round and flat, piece of bread, province ʼ; Or. cakuḷī ʻ a kind of cake ʼ; Bi. cakrī ʻ round flat sweetmeat of sugarcane juice ʼ; WBi. cākal ʻ cake of dung placed on grain heap to avert evil eye ʼ; Mth. cākar ʻ wide ʼ; H. cākalcaklā ʻ circular, round and flat, broad ʼ, m. ʻ province ʼ, cakrām. ʻ flat round cake ʼ; G. cākaḷ f. ʻ a kind of snake which looks like a wheel ʼ, cākḷɔ m. ʻ water -- wheel, circular leather seat, pot ʼ.Addenda: *cakrala -- : Ko. ċākkaḷa ʻ round bite mark ʼ.
   4549 cakravartin m. ʻ a universal ruler ʼ MBh. [Poss. der. fr. *cakravarta -- ʻ enclosure of the earth -- circle ʼ (same as cakravāṭa -- if < * -- vārt(r)a -- )]Pa. cakkavattin -- m., NiDoc. cakravarti, Pk. cakkavaṭṭi -- , ˚vatti -- m.; -- Si. sakviti ʻ universal ruler ʼ EGS 171, but certainly ← Pa.   4550 *cakravaha ʻ flowing in a circle ʼ. [cakrá -- , vahá -- ]OH. cakoha m. ʻ whirlpool ʼ.   4551 cakravāká m. ʻ the ruddy goose Anas casarca ʼ RV., ˚kī -- f. Kālid.Pa. cakkavāka -- m., Aś. cakavāke, Pk. cakkavāya -- , cakkāa -- m.; K. ċā̆kav m. ʻ the ruddy sheldrake Casarca ʼ; S. cakuo m. ʻ A. casarca ʼ, P. cakvā m., ˚vī f., WPah. bhiḍ. ċekkrõ, pl. ˚ru n., N. cakhewā, A. sakowāsākai f., B. cakā, Or. cakuā˚ui, Mth. cakawā˚kewā, Aw. lakh. cakawā˚kaī, H. cakwā m., ˚kaī f., G. cakvɔ m., ˚vī f., M. ċakvā m., ˚vī f., Si. sakvā.   4552 cakravāṭa m. ʻ boundary ʼ lex., cakravāla -- m. ʻ circle ʼ MBh., BHSk. cakravāḍa -- m. ʻ a mountain range encircling the earth ʼ. [Cf. cakravartin -- . -- cakrá -- , vāṭa -- 1]Pa. cakkavāḷa -- m.n. ʻ mountain range encircling the earth ʼ; Pk. cakkavāla -- m. ʻ circle ʼ; Si. sakvaḷa ʻ the world ʼ EGS 170 prob. ← Pa.   4553 cakravyūha m. ʻ circular array of troops ʼ MBh. [cakrá -- , vyūhá -- ]Or. cakabhua ʻ circular battle array ʼ.   4554 cakriṇī f. of cakrin -- ʻ having a wheel ʼ (ʻ driving in a carriage ʼ Yājñ.), m. ʻ snake ʼ lex. (semant. cf. G. cākaḷ < *cakrala -- ). [cakrá -- ]M. cākaṇ f. ʻ a snake, species of Coluber ʼ.4554a †cakrin -- ʻ having wheels ʼ lex., ʻ driving in a carriage ʼ Yājñ., ʻ discus -- bearer ʼ MBh., ʻ oil -- miller ʼ Yājñ., ʻ potter ʼ lex. [cakrá -- ]Pk. cakki(ya) -- m. ʻ potter ʼ, cakkisālā -- f. ʻ oil -- shop ʼ; -- S.kcch. cākī m. ʻ oil -- miller ʼ, cāka f. ʻ his wife ʼ (rather < cākrika -- ?).   4555 cakríya ʻ pertaining to wheels ʼ RV., ʻ *circular ʼ. [cakrá -- ]Dm. čakri ʻ a partic. entrail ʼ; Kal. rumb. čāˊkri ʻ spleen ʼ. (CDIAL 4538 to 4555)

ʦroṭu च़्र॑टु॒ । चक्राकारत्वम् m. the condition of being wheel-shaped; anything wheel-shaped; a potter's wheel (El. tsruṭ m.); ʦrüṭü च़्र॑टू॒ । चक्रिका f. (sg. dat. ʦracĕ च़्रच्य), a potter's wheel (El. tsrauṭ f.); any circular disc, large or small, a round cake, a tabloid (cf. hanga-ʦo, p. 338b, l. 47; lācha-ʦo, p. 507a, l. 30; mīli-ʦo, p. 565b, l. 51; nāga-ʦo, p. 623b, l. 49; nöhii, p. 625b, l. 23; tŏndūra-ʦo, p. 1010a, l. 18); cf. ʦroṭu. ʦrüṭügaʦhüñü च़्र॑टू॒ गछ़॑ञू॒ । आहतिनाशः f.inf. to become a disc, to be squashed flat by a blow from above, to be struck by a blow from above and so destroyed. (Kashmiri).

+ 'cross', dotted circle,Sign 342 'rim-of-jar' with ligatured hieroglyphs create Meluhha hypertexts

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https://tinyurl.com/y2c8vnjm
This is an addendum to: 

1)  

https://tinyurl.com/yxpnn4vv

2) Itihāsa. Historical hoax of St. Thomas and the dubious 'Taxila Cross' -- B.S. Harishankar. Indus Script Cipher debunks the hoax https://tinyurl.com/y5z6w4eq
Taxila cross at Lahore Cathedral, Pakistan

“The taxila cross at Lahore Cathedral, Pakistan. There hangs on one of the walls of the Lahore Cathedral, a small framed cross. This is the famous Taxila Cross found just outside the ruins of Sirkap in 1935. This was a time when a book titled The Acts of Saint Thomas was well known. Discovered in 1822 in Syria, the book told of how St Thomas, having been assigned by Christ to preach the Gospel to the Indians, arrived by boat in the capital of King Gondophares.”

Image result for taxila cross 'Taxila cross' "In Lahore Cathedral, there hangs on the wall, at the upper end of the nave in the recess to the right, a small cross in a glass frame. The inscription below records that it was found in 1935 and donated to the church by Mrs Cuthbert King (Mr King then being the Deputy Commissioner at Rawalpindi). Nothing surprising about a cross in a church, except that this particular relic goes by the name of the Taxila Cross. Because it was found just outside the fortification wall of Sirkap (one of the ruined cities of Taxila), it is taken by believers as a sign of the arrival of Christianity in our part of the world at the time that Sirkap lived."http://odysseuslahori.blogspot.com/2014/07/TaxilaCross.html

 

Image result for geometric seals indus valleyStamp seals from the Late period levels. Such seals appear to be products of the waning years of the Indus civilization. After Figure in George F. Dales, 1965, Civilisation and floods in the Indus Valley, Expedition, Vol. 7, Issue 4. https://www.penn.museum/sites/expedition/civilization-and-floods-in-the-indus-valley/

 

It is clear that the 'Taxila Cross' is a hoax. A + symbol, together with svastika symbol are hieroglyphs of Indus Script. The + symbol signifies a fire-altar with the indications of dotted circles on four corners which signify dhã̄ī 'strand' rebus: dhatu 'mineral ore'.

Svastika symbol signifies hieroglyph sattva 'svastika symbol' rebus: sattva, jasta 'pewter, zinc'.


Another example of Indus Script seal is presented with a decipherment.

 m0352 cdef

The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5 sides A to F. Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features. Rebus readings of m0352 hieroglyphs:

dhātu 'layer, strand'; dhāv 'strand, string' dāya 'one in dice' Rebus: dhāu, dhātu 'ore' PLUS 'circle' hieroglyph: vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1]
1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va'ʻ round ʼ GS 58; -- Paš.ar. waṭṭəwīˊkwaḍḍawik ʻ kidney ʼ ( -- wĭ̄k vr̥kká -- ) IIFL iii 3, 192?(CDIAL 12069) வட்டம்¹ vaṭṭam , < Pkt. vaṭṭa < vṛtta. n. 1. Circle, circular form, ring-like shape; மண்ட லம். (தொல். சொல். 402, உரை.) 2. Halo round the sun or moon, a karantuṟai-kōḷபரிவேடம். (சிலப். 10, 102, உரை.) (சினேந். 164.) 3. Potter's wheel; குயவன் திரிகை. (பிங்.) 4. Wheel of a cart; வண்டிச்சக்கரம். (யாழ். அக.) Together, the dot PLUS circle are read rebus:  धवड (p. 436) [ dhavaa ] m (Or धावड) A class or an individual of it. They are smelters of iron (Marathi) धावड   dhāvaḍa m A class or an individual of it. They are smelters of iron. In these parts they are Muhammadans.धावडी   dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron. (Marathi)

Vikalpa 1. Round dot like a blob -- . Glyph: raised large-sized dot -- (ī ‘round pebble);goTa 'laterite (ferrite ore)A (गोटा) ā Spherical or spheroidal, pebble-form. (Marathi) goTa 'laterite ferrite ore'. Rebus: khoā ʻalloyedʼ (metal) (Marathi) खोट [khōṭa] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge (Marathi). P. kho  m. ʻalloyʼ  *khaḍḍa ʻ hole, pit ʼ. [Cf. *gaḍḍa -- and list s.v. kartá -- 1]Pk. khaḍḍā -- f. ʻ hole, mine, cave ʼ, ˚ḍaga -- m. ʻ one who digs a hole ʼ, ˚ḍōlaya -- m. ʻ hole ʼ; Bshk. (Biddulph) "kād" (= khaḍ?) ʻ valley ʼ; K. khŏḍ m. ʻ pit ʼ, &obrevdotdot; f. ʻ small pit ʼ, khoḍu m. ʻ vulva ʼ; S. khaḍ̠a f. ʻ pit ʼ; L. khaḍḍ f. ʻ pit, cavern, ravine ʼ; P. khaḍḍ f. ʻ pit, ravine ʼ, ˚ḍī f. ʻ hole for a weaver's feet ʼ (→ Ku. khaḍḍ, N. khaḍ; H. khaḍkhaḍḍā m. ʻ pit, low ground, notch ʼ; Or. khãḍi ʻ edge of a deep pit ʼ; M. khaḍḍā m. ʻ rough hole, pit ʼ); WPah. khaś. khaḍḍā ʻ stream ʼ; N. khāṛo ʻ pit, bog ʼ, khāṛi ʻ creek ʼ, khāṛal ʻ hole (in ground or stone) ʼ. -- Altern. < *khāḍa -- : Gy. gr. xar f. ʻ hole ʼ; Ku. khāṛ ʻ pit ʼ; B. khāṛī ʻ creek, inlet ʼ, khāṛal ʻ pit, ditch ʼ; H. khāṛī f. ʻ creek, inlet ʼ, khaṛ -- har˚al m. ʻ hole ʼ; Marw. khāṛo m. ʻ hole ʼ; M. khāḍ f. ʻ hole, creek ʼ, ˚ḍā m. ʻ hole ʼ, ˚ḍī f. ʻ creek, inlet ʼ.
khaḍḍukā -- see khaṭū -- .Addenda: *khaḍḍa -- : S.kcch. khaḍḍ f. ʻ pit ʼ; WPah.kṭg. kháḍ m. ʻ hole in the earth, ravine ʼ, poet. khāḍ (obl. -- o) f. ʻ small stream ʼ, J. khāḍ f.(CDIAL 3931) 

Hieroglyph: + symbol: कण्ड a joint (= पर्वन्) (Monier-Williams) Rebus: kanda 'fire-altar' (Santali) khãḍi ʻ edge of a deep pit ʼ(Oriya)

Since the Indus Script inscriptions are documented in very small objects such as miniature tablets of Harappa of the size of a thumb-nail, विकल्पजाल, the net of hieroglyphs and hypertexts architecturted by ligatured hieroglyphs (e.g. composite animal or 
Sign 418 which is composed a number of hieroglyphs such as water-carrier -- body fused like a fish, rude harrow, rim-of-jar and a small ingot shape). This विकल्पजाल 'a net of alternative combinations' renders the script to be a stunningly precise cipher, providing a medium to convey messages composed of spoken words and even expressions.

This Sign 418 occurs on a Kalibangan terracotta two-sided tablet.

Kalibangan terracotta inscription K079

Kalibangan 079
Kalibangan Terracotta object K-79 with incised hieroglyphs

Sign 342 'rim-of-jar'कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. Rebus: कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus:karṇī 'supercargo', 'engraver' (Marathi) PLUS hieroglyph: kaṇḍa'pot' Rebus:1. kaṇḍ  ‘a fire-altar’  kaṇḍ ‘furnace, fire-altar, consecrated fire’. (CDIAL 3790) 2. khaṇḍā ‘tools, pots and pans and metal-ware’.

Sign 418 Mahadevan (ASI 1977 Concordance) 
Sign 418 Mahadevan is a composition of ligatured signs of Sign 49 infixed, Signs 342, 372, 171 superscripted on Sig 12 which signifies a 'water-carrier': kuṭi ‘water-carrier’ (Telugu); Rebus: kuṭhi ‘smelter furnace’ (Santali).

Sign 59 aya 'fish' rebus: ayas 'alloy metal'
Sign 373 Hieroglyph 'shape of bun ingot' mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time from a furnace'. It is also a variant of rhomb us shape:kanac 'corner' rebus: kancu 'bell-metal'. Thus, bell-metal ingot.
Sign 171 maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt,med 'iron' (Mu.Ho.) med 'copper' (Slavic) Duplicated Sign 171 adds: dula 'pair' rebus: dul 'metal casting'. Thus duplicated Sign 171 reads rebus: iron, copper metal castings.
Thus, Sign 418 Mahadevan is smelter (of) ayas 'alloy metal', goṭā 'round pebblestone' Rebus: goṭā ''laterite, ferrite ore'  'gold braid' खोट [khōṭa] ‘ingot, wedge’; A mass of metal (unwrought or of old metal melted down)(Marathi)  khoṭ f ʻalloy' (Lahnda); N. ̄de ʻ harrow S. ḍ̠andārī f. ʻ rake ʼ, L(Ju.) ḍ̠ãdāl m., °lī f. (CDIAL 6153) rebus:dhatu 'mineral ore' (Santali)  dhātu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāūdhāv m.f. ʻ a partic. soft red stone ʼ(Marathi) धवड (p. 436) [ dhavaḍa ] m (Or धावड) A class or an individual of it. 

Sign 15 itself seems to be a ligature of signs 12 and 342.
Sign 15 PLUS three linear strokes on 28 tiny tablets of Harappa are read rebus :kuṭhi kaṇḍa kanka 'smelting furnace account (scribe), supercargo' PLUS kolom 'three' Rebus: kolami 'smithy'. kaṇḍa kanka also signifies: metalware supercargo.
kuṭi ‘water-carrier’ (Telugu); Rebus: kuṭhi ‘smelter furnace’ (Santali)  See: http://bharatkalyan97.blogspot.co.uk/2011/11/decoding-longest-inscription-of-indus.html
Sign 342 'rim-of-jar'कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. Rebus: कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus:karṇī 'supercargo', 'engraver' (Marathi) .SPLUS hieroglyph: kaṇḍa 'pot' Rebus:1. kaṇḍ  ‘a fire-altar’  kaṇḍ ‘furnace, fire-altar, consecrated fire’. (CDIAL 3790) 2. khaṇḍā ‘tools, pots and pans and metal-ware’.

Thus, the hypertext composition of Sign 418 Mahadevan reads Meluhha rebus: supercargo, helmsman, scribe (engraver) (working with) smelter of alloy metal, laterite and other ferrite mineral ores, gold braid.

See: Decipherment of unique Kalibangan inscriptions of Indus Script Corpora: metalwork catalogues 

Sign 328 Wells
  Signs 348 and 353 include Sign 342 'rim-of-jar' orthography and ligatures such as Sign 171. Sign328 Wells is unique with duplicated Sign171 as ligatures PLUS Sign 391 and Sign 342. These are examples of hypertexts formed by combining hieroglyphs in an orthographic composition. This feature is comparable to the pictorial motifs which compose composite animals. The composition occurs to maximise the messaging within the limited space of a small tablet or seal, say, of the size of a thumbnail.
  Sign 342 Wells is a ligatured composition which infixes two Signs171 and Sign39a within Sign 343. The rebus Meluhha (Indian sprachbund) readings are: 

Sign 171 maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt,med 'iron' (Mu.Ho.) med 'copper' (Slavic) Duplicated Sign 171 adds: dula 'pair' rebus: dul 'metal casting'. Thus duplicated Sign 171 reads rebus: iron, copper metal castings. dhātu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāūdhāv m.f.
 ʻ a partic. soft red stone ʼ(Marathi) धवड (p. 436) [ dhavaḍa ] m (Or धावड) A class or an individual of it. They are smelters of iron (Marathi)(CDIAL 6773). Thus, mineral ore castings

Sign 391 is the opening statement of each of the three segments of Dholavira signboard message. This is a ligatured hieroglyph. ara 'spoke' rebus: ara 'brass'. era, er-a = eraka =?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.)[Note Sign 391 and its ligatures Signs 392 and 393 may connote a spoked-wheel,nave of the wheel through which the axle passes; cf. ara_, spoke]erka = ekke (Tbh.of arka) aka (Tbh. of arka) copper (metal);crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = anymetal infusion (Ka.Tu.); erako molten cast (Tu.lex.) Rebus: eraka= copper (Ka.)eruvai =copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a= syn. erka, copper, weapons (Ka.)Vikalpa: ara, arā (RV.) = spokeof wheel  ஆரம்² āram , n. < āra. 1. Spoke of a wheel.See ஆரக்கால்ஆரஞ்சூழ்ந்தவயில்வாய்நேமியொடு
 (சிறுபாண்253). Rebus: ஆரம் brass; பித்தளை.(அகநி.) pittal is cognate with 'pewter'. arka 'sun' rebus: arka 'copper, gold'.




Sign 342 'rim-of-jar'कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. Rebus: कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus:karṇī 'supercargo', 'engraver' (Marathi) .SPLUS hieroglyph: kaṇḍa 'pot' Rebus:1. kaṇḍ  ‘a fire-altar’  kaṇḍ ‘furnace, fire-altar, consecrated fire’. (CDIAL 3790) 2. khaṇḍā ‘tools, pots and pans and metal-ware’.
Ths,  Sign 328 Wells is supercargo, helmsman, engraver (scribe) responsible for 1. mineral ore metal castings; and 2. moltencast brass.


The first book ever written in the history of humankind is in Indus Script.

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--Standard device is kunda kammaṭa 'fine gold mint'; kaMohenjo-daro priest is Indus Script hypertext; पोतृ 'purifier of metals', पोतदार 'book-keeper'

h1778Ah1778B A number of tablets of this type with two-sided inscription from Harappa signify that the standard device (lathe + portable furnace) is a kuna kammata pottige 'fine gold book (wealth accounting ledger)'.The tree is 

kuṭi Rebus: kuṭhi 'smelter'. Thus, the book documents that the fine gold mint has a smelter.


This monograph demonstrates that the standard device in front of the ‘unicorn’ is kunda  kammaṭa pottige‘fine gold book (wealth accounting ledger) of mint’. பொத்தகம்¹ pottakam , n. < pustaka. 1. Painted cloth; சித்திரப்படாம். (திவா.) 2. Book; புத்தகம். நிறைநூற் பொத்தகம் நெடுமணையேற்றி (பெருங். உஞ்சைக். 34, 26). 3. Land register; நிலக்கணக்கு. பொத்தகப்படி குழி (S. I. I. iii, 80).पुस्तक mf(इका)n. a manuscript , book , booklet Hariv. Ka1v. Var. &c; m. or n. a protuberant ornament , boss

fish PLUS notch: खांडा [ khāṇḍā ] jag, notch Rebus: ayaskhāṇḍa 'excellent implements: tools, pots and pans, PLUS aya 'fish' rebus: ayas 'alloy metal'.PLUS 

kuṭi 'water-carrier' (Telugu) Rebus: kuṭhi 'smelter'. Thus, the text message on h73 is alloy metal smelter..

Image result for water-carrier bharatkalyan97



h73 Sealimpression  

Sign 10 is a variant of Sign 15'. See Variant 5515. This gets orthographed as

Image result for water-carrier bharatkalyan97



Signs 321, 322 Variants of Sign 12,  Sign 321 is signified on standard device tablet.

The objective of this monograph is to identify the hieroglyphs on the frequently used standard device on Indus Script Inscription Corpora and unravel the messages conveyed as hypertexts, documentation of metalwork wealth.


--पोतृ uddhmāna 'fireplace of assayer of metals', पोतृ, 'purifier' also, पोतदार  is a keeper of books, pottige signified by hieroglyph pottige, 'flame', pōta 'bead on fillet'

-- Fillet is a band or ribbon worn round the head, especially for binding the hair.
-- pottige 'flame' is signified by the smoke and flame emanating from the top surface of the portable furnace which is shown in the bottom register of the portable
standard device. The dotted circles shown on the surface of the bowl in the bottom register also occur as trefoil decorations on the shawl worn by Mohenjo-daro priest.

-- Processions by బేరి bēri 'merchant' in utsava bera 'bargain, barter trade enterprise' signified on Indus Script messages
uddhmāna, 'fireplace', udvāna3uddā˚ n. ʻ stove ʼ lex. [Semant. cf. uddhmāna- with which it would collide in Paš. and Si.: √2]Pk. uddāṇa -- n. ʻ stove, cooking oven ʼ; Paš. uddəna ʻ three stones to support cooking -- pot, fireplace ʼ (or < uddhāna -- 1); Si. uduna ʻ fireplace, oven ʼ, un̆duna ʻ kiln ʼ.(CDIAL 2078) uddhmāna n. ʻ fire-place ʼ lex. [Perh. re-sanskritiza- tion of uddhāna -- 1; but semant. cf. udvāna -- 3 with which it would collide in Paš. and Si.: √dham]Pa. uddhana -- n. ʻ oven ʼ (a?); Paš. uddəna ʻ three stones supporting the cooking-pot, fireplace ʼ (or < uddhāna -- 1); Si. uduna ʻ oven ʼ, un̆duna ʻ kiln ʼ.(CDIAL 2028)uddena'stove of 3 stones' rebus: uddami 'profession, business'

That he is PotR is reinforced by the semantic determinant of the fillet worn on his forehead and on his right shoulder. potti 'bead' rebus: potti 'priest in Malabar', potir 'to pierce' (Tamil) पोत   pōta m f A bead of glass and, sometimes, of gold and of stone. 2 m A neck-ornament of females made of these beads. पोंत   pōnta m (In Konkan̤ neuter.) A seton.पोंथ   pōntha m n (Or पोंत) A seton. 2 Applied to the hole of a ploughshare. Rebus: पोतृ प्/ओतृ or पोतृm. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि Sa1y. RV. Br. S3rS. Hariv. पोतदार   pōtadāra m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith.   पोतदारी   pōtadārī f ( P) The office or business of पोतदार: also his rights or fees. Rebus:  पोथी   pōthī f A book, a pamphlet, a manuscript. 

Image result for trefoil indus scriptTrefoiils on the shawl of Mohenjo-daro priest potir 'pierce' rebus: potR'purifier'potadhara'assayer of metals, shroff'.   पोतडी   pōtaḍī f पोतडें n (पोतें) A bag, esp. the circular bag of goldsmiths, shroffs &c. containing their weights, scales, coins &c. पोतदार   pōtadāra m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith. पोतदारी   pōtadārī f ( P) The office or business of पोतदार: also his rights or fees. Three dotted circles together signify uddena 'stove of three stones' rebus; udyama 'trade, business, enterprise'.


I suggest that the trefoil -- a composition of three dotted circles signifies uddena 'oven which is constructed with three stones'. Thus, the rebus reading is: hieroglyph/hypertext: uddena potta 'three dotted circles' rebus: udyama pottige 'trade book'. Thus, the priest of Mohenjo-daro who wears a pota 'cloth' decorated with trefoils is a book-keeper of transactions of the guild, which is produces podu, பொதுச்சொம், common property, shared wealth, a commonwealth.


*paustaka ʻ keeper of books ʼ. [*pōstaka -- ]Si. pota ʻ keeper of books ʼ SigGr ii 449?(CDIAL 8427) *pōstaka ʻ book ʼ. [pusta -- m.n., ˚tā -- f. ʻ book ʼ VarBr̥S., ˚taka -- m.n., ˚tikā -- f. Hariv. -- ← Ir., e.g. Sogd. pwstk ʻ book ʼ ~ Pers. pōst ʻ skin ʼ (< OPers. pavastā -- → pavásta -- : see also *pōstikā -- ) EWA ii 319 with lit.]Pa. potthaka -- m. ʻ book ʼ, Pk. puttha -- , ˚thaya -- n., ˚thiyā -- f., K. pūthi, dat. pōthĕ f.; S. pothu m. ʻ large book ʼ, ˚thī f. ʻ smaller do. ʼ, P. po(t)thā m., ˚thī f., Ku. pothī f., N. pothi, A. puthi, B. pothā˚thiputhipũthi, Or. pothā˚thiputhi, Mth. pothā˚thī, Bhoj. pōthī, Aw.lakh. H. pothā m., ˚thī f., G. pothũ n., ˚thī f., M. pothī f., Si. pota.
*paustaka -- .Addenda: *pōstaka -- : WPah.kṭg. pótthi f. ʻ (small) book ʼ, pótthu m. ʻ small book ʼ, J. pothī f., Garh. pōthī, Md. fot.(CDIAL 8413)

*pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, putipũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1.(CDIAL 840)

pōtrá1 ʻ *cleaning instrument ʼ (ʻ the Potr̥'s soma vessel ʼ RV.). [√]
Bi. pot ʻ jeweller's polishing stone ʼ? (CDIAL 8402)

*phōttara ʻ hollow ʼ. [See list s.v. *pōka -- ]G. photrũ n. ʻ chaff ʼ.(CDIAL 9113)

potir (-pp-, -tt-) to pierce; potu (-v-, -nt-) to be perforated; (-pp-, -tt-) to bore, pierce; potumpu hole, hollow in a tree, pit, cave; pottu hole, rat-hole, hollow in a tree, rent or puncture, defect; pottal, pottai hole, orifice, defect; pottilam hole in a tree; pōttu, pontar, pontu hole, hollow; pōṉ cave. Ma. pottu hole in the ground, cavity, hollow hand; pōtu a hole as in worm-eaten wood. Te. botta hole, leak; bonda hole, bore;  Pa. botta id.; potpa, poppa a chisel.Go.  boḍga chisel Konḍa (BB) pot- (-t-) to bore, perforate. Pe. pot- (-t-) id. Kui pospa (post-) to pierce, bore a hole, mortise; n. act of piercing, mortising; pondo hole; ? bojo wood dust resulting from dry rot. Kuwi (F.) pōthali to hollow out; (S.) poth'nai to hole; (Isr.) pot- (-h-) to make a hole (in wood, etc.). Kur. pattnā to pierce, perforate, tap with a chisel; pattā chisel to dig a hole in a piece of wood. Malt. pattre to pierce.(DEDR 4452)

பொது¹-தல் potu- , perh. 4 v. intr. To be perforated; துளைபடுதல். மரம்பொதச் சரந் துரந்து (திவ். திருச்சந். 73).
   பொது²-த்தல் potu- , 11 v. tr. Caus. of பொது¹- 1. To bore; துளைத்தல். புட்கள் பொதுத்த புலால் வெண்டலை (பதினொ. மூத்த. 3). 2. To pierce, prick; முள் முதலியன பாய்தல். கப்பணம் கால்களைப் பொதுக்கும்படி (மதுரைக். 598, உரை).

பொதுச்சொம் potu-c-com , n. < id. +. Common property; பொதுச்சொத்து. (யாழ். அக.) பொதுச்சொல் potu-c-col , n. < id. +. 1. Word in general use; எல்லாரும் அறிந்த சொல். 2. (Gram.) Word common to both the tiṇaiஇருதிணைகட்கும் பொதுவாகிய சொல். ஒன்றொழி பொதுச்சொல் (நன். 269). 3. Word implying common possession, as of the world; உலகம் பலர்க்கும் பொது என்ற வார்த்தை. போகம் வேண்டிப் பொதுச்சொற் பொறாஅது (புறநா. 8) பொதுமுதல் potu-mutal , n. < id. +. Joint stock; கூட்டுவியாபாரத்தின் மூலதனம் பொதுவில் potu-v-il , n. < id. + இல். Public hall; அம்பலம். (அக. நி.) பெருங்கண நாதர் போற்றிடப் பொதுவினின்றாடும் (பெரியபு. திருமலைச். 10).பொதுளகரம் potu-ḷakaram , n. < id. +. The Tamil letter '' as being common to Tamil and Sanskrit, dist. fr. ciṟappu-ḻakaramதமிழுக்கும் வடமொழிக்கும் பொதுவான 'ள'என்ற எழுத்து.பொதுவெழுத்து potu-v-eḻuttu , n. < id. +. (Gram.) Letter common to both Tamil and Sanskrit; ஆரியந்தமிழ்களுக்குப் பொதுவா யுள்ள அட்சரங்கள். (நன். 150.)
   பொது³ potu- , n. [T. pottu, M. podu.] 1. That which is common or shared by many; generality, opp. to ciṟappuபொதுமை யானது. பொதுநோக்கான் வேந்தன் வரிசையா நோக்கின் (குறள், 528). 2. Lack of distinction; சிறப்பின்மை. பொதுக்கொண்ட . . . வதுவை (கலித். 66). 3. That which is ordinary or general; சாதாரணம். பொதுவின் மன்னுயிர்க் குலங்களும் (கம்பரா. வருணனை. 30). 4. That which is usual or natural; சகசம். உரை பொதுவே (கம்பரா. முதற். 172). 5. Neutrality; நடுவுநிலை. அவன் எந்தப் பக்கத்திலுஞ் சேராது பொதுவாயிருக் கிறான். 6. Likeness, equality; ஒப்பு. ஒன்றொடு பொதுப்படா வுயர் புயத்தினான் (கம்பரா. நாகபாச. 75). 7. Vagueness; குறிப்பான பொருளின்மைColloq. 8. That which is public; பகிரங்கமானது. (W.) 9. Public place, assembly; மன்று. பொது விற் றூங்கும் விசியுறு தண்ணுமை (புறநா. 89). 10. The hall in the temple at Chidambaram; தில்லை யம்பலம். கோலமார் தருபொதுவினில் வருகென (திருவாச. 2, 128). பொதுக்
கட்டு-தல் potu-k-kaṭṭu- , v. tr. < பொது +. To deposit by mutual consent, as with a mediator or Pañcāyat; மத்தியஸ்தரிடம் விவாதப்பொருளை ஒப்படைத்தல்Colloq.   பொதுக்
காரியம் potu-k-kāriyam , n. < id. +. Matter concerning a community or the general public; சமூகநலத்துக்குற்ற செயல்Colloq.

 పొత్తర  pottara. [Tel.] n. A pack or bundle of leaves, ఆకులలోనగువానికట్ట.

పొత్తువు pottuvu. n. An epithet of Sarasvati, సరస్వతి. The etymon is a signifier of shared commonwealth activities.  పొత్తు  pottu. [Tel.] n. Friendship, partnership, holding in common. స్నేహము, సహవాసము, విశ్వాసము, ఉమ్మడి, అవిభక్తిత. పోరునష్టి, పొత్తులాభము (proverb) quarrelling is a loss, friendship is a gain. పొత్తునగుడుచు to eat together as messmates, బిగిసిగాతిను. వీధులు అందరికిపొత్తు the streets are free or common to all men. ఆ సరుకులు పొత్తున కొన్నారు they bought the goods between them, or as common stock. ఆ పని పొత్తులుపోక పడవేసిపెట్టినారు the work is left undone because they could not settle which of them should do it, ఆ పని నీదంటే నీదని పడవేసిపెట్టినారు. "నృపుపొత్తుబాముపొత్తుంగపటుండగు మిత్రుపొత్తుగడుసరిపొత్తుం, విపరీత భార్య పొత్తుం నెపమిది నిడువంగవలయు." Sumati. 129. "ఇట్టి అవమానపుపొత్తు మనంగ వచ్చునే." M. IV. iii. 33. పొత్తులవాడు he in whom both parties have an equal right or interest. ఇద్దరికి సమమైనవాడు. "ఏనుపొత్తులవాడనై యిరువురకును." ib. XII. v. 257. adj. Friendly, united, associated. స్నేహితము, సంగతము. పొత్తుకాడు pottu-kāḍu. n. A friend, స్నేహితుడు. పొత్తుకత్తె pottu-katte. n. A female friend. స్నేహితురాలు. పొత్తుగుడుచు pottu-guḍuṭsu. v. n. To avail or come to good. పనికివచ్చు."సత్యములు పొత్తుగుడుచునా సున్నుతాంగి భళిర సత్యములానలైనచ్చునీకు." Ila. iv. 21. టీ సత్యములు పొత్తుగుడుచునా, బాసలు కలిసివచ్చునా. పొత్తుగుడుపు pottu-guḍupu. n. Eating together as messmates. పంజ్క్తిభోజనము. పొత్తుచేయు pottu-chēyu. v. n. To make friends with, to cultivate friendship, to associate with, స్నేహము చేయు

పోత pōta. adj. Molten, cast in metal. పోతచెంబు a metal bottle or jug, which has been cast not hammered. పోత  pōta. [Tel. from పోయు.] n. Pouring, పోయు  pōyu. [Tel.] v. n.To pour, as water. To cast in metal or found.పోయించు pōyinṭsu. v. a. To cause to cast or pour; to erect. విగ్రహములు పోయించిరి they had some statues cast.పోతురాజు or పోతరాజు pōtu-rāḍsu. n. The name of a rustic god, like Pan, worshipped throughout the Telugu, Canarese and Mahratta countries. He represents the male principle associated with the village goddesses Gangamma, Peddamma, &c. A proverb says పాడుఊరికి మంచపుకోడుపోతురాజు in a ruined village the leg of a cot is a god. cf., 'a Triton of the minnows' (Shakespeare.)  పోతము  pōtamu. [Skt.] n. A vessel, boat, ship. ఓడ. The young of any animal. పిల్ల. శిశువు. An elephant ten years old, పదేండ్ల యేనుగు. A cloth, వస్త్రము. శుకపోతము a young parrot. వాతపోతము a young breeze, i.e., a light wind. పోతపాత్రిక pōta-pātrika. n. A vessel, a ship, ఓడ. "సంసార సాగరమతుల ధైర్యపోత పాత్రికనిస్తరింపుముకు మార." M. XII. vi. 222. పోతవణిక్కు or పోతవణిజుడు pōta-vaṇikku. n. A sea-faring merchant. ఓడను కేవుకు పుచ్చుకొన్నవాడు, ఓడ బేరగాడు. పోతవహుడు or పోతనాహుడు pōta-vahuḍu. n. A rower, a boatman, a steersman. ఓడనడుపువాడు, తండేలు.

Utsava bera is an उद्यम   udyama m (S) Business or occupation: also busiedness, occupiedness, engagedness. The objective of the udyama carrying pratimā, 'symbols' in procession (utsava) is to accomplish trade promotion through barter trade transactions of wealth resources signified by the symbols. Thus, the symbol of spiny-horned young bull or 'unicorn' signifies the resource of furnace alloy metals including ornament gold. Similarly, the symbol of 'standard device' (lathe + portable furnace) signifies the resource of lathe and portable furnace used in creating wealth products of metal and gems. Thus, the standard device signifies kunda 'lathe' rebus: kunda 'fine gold' PLUS sangada 'combined parts' rebus: sangara 'collection' PLUS kammata 'portable furnace' rebus: kammata 'mint, coiner, coinage'. Thus, the resources signified are fine gold and products produced in mint by coiners (metal, lapidary workers, artisans). Together, the unicorn PLUS standard device signify the repertoire of metal-/lapidary- traders trading in fine gold, ornament gold, alloy metals and drilled gems such as agate, carnelian, lapis lazuli and even gold beads.

We have seen what the spiny-horned young bull 'unicorn' signifies.


What does this standard device signify?

The question can be restated in the context of Indus Script evidence. There is an inscription written on a tablet displaying a standard device held aloft on the shoulder of a person, clearly demonstrating that the device is a portable furnace (bottom register) PLUS lathe (top register). The restated question is:

What do these two objects on the bottom and top registers of the standard device held aloft on a flagstaff signify in Meluhha language?

I submit that the tablet conveys the message of a 
బేరి bēri 'merchant' in an utsava bera, 'procession of symbols on a festival day'.

One such festival day is called Pola, the festival celebrating pōḷā ] 'zebu, bos indicus taurus,' rebus:पोळा [pōḷā] rebus: pola 'magnetite, ferrite ore' as a wealth resource.
vyavaharati ʻ deals, trades with ʼ Āpast., ʻ has inter- course with ʼ Gr̥S. [√hr̥]Pa. vōharati ʻ administers, governs ʼ; Pk. vavaharaï ʻ works, is busy ʼ; S. oraṇu ʻ to talk over one's troubles ʼ (or <*avalagati); N. bornu ʻ to confuse with, contaminate ʼ; OG. vuharaï ʻ buys ʼ, G. vɔhɔrvũvɔr˚ ʻ to buy, collect ʼ.(CDIAL 12173) vyavahāra m. ʻ behaviour ʼ MBh., ʻ custom, business ʼ Pat. 2. *viyavahāra -- . [√hr̥1. Pa. vōhāra -- m. ʻ trade, business ʼ; Pk. vavahāra -- m. ʻ daily work, lawsuit ʼ; P. vuhār, bu˚ m. ʻ trade ʼ; WPah. cam. buhār ʻ custom ʼ; M. oharā, orā m. ʻ a bout of the plough, the elliptical space ploughed ʼ; Si. vahara ʻ custom ʼ (also spelt vasara 
with s for h).2. Aś. viyohāla -- samatā ʻ equity in judicial procedure ʼ; OG. vihivāra m. ʻ business ʼ, G. vahevār m. ʻ intercourse, transactions ʼ.(CDIAL 12174) vyavahāraka m. ʻ trader ʼ Pañcat. 2. *viyavahāraka -- . [vyavahāra -- ]1. K. buhuru m. ʻ vendor of drugs &c. ʼ (← Ind.); N. bohorā ʻ name of a clan of Chetris ʼ; H. bohrā, bauhrā m. ʻ class of village bankers (Muhammadans originally from Gujarat) ʼ; G. vahɔrɔ, vɔrɔ, hɔrɔ m. ʻ trader ʼ (bɔrɔ m. ← H.)2. Aś.jau. nagala -- viyohālakā nom. pl. m. ʻ city magistrates ʼ.Addenda: vyavahāraka -- : WPah.poet. bōro m. ʻ member of a caste of bankers ʼ (poss. ← H. Him.I 144).(CDIAL 12175) vyavahārayati ʻ deals with ʼ SaddhP. [√hr̥]MB. behāribā ʻ will employ ʼ ODBL 351 (< *viyava˚?).(CDIAL 12176) vyavahārikā f. ʻ servant, female slave ʼ R. [vyava- hāra -- ]Ku. bwārī ʻ son's wife ʼ, N. buhāri, buwāri; A. bowāri ʻ son's or younger brother's wife ʼ; MB. bauhārī ʻ wife, son's wife ʼ ODBL 345 (X MB. bau < vadhūˊ -- ?); -- Gy. eur. bori ʻ bride, son's wife, brother's wife ʼ rather < vadhūṭī -- .Addenda: vyavahārikā -- : Garh. bwārī ʻ wife, son's wife ʼ.(CDIAL 12177) vyavahārin m. ʻ trader ʼ Mn. 2. *viyavahārin -- . [vyavahāra -- ]1. Pa. vōhārika -- m. ʻ magistrate ʼ.2. OG. vivahārī m. ʻ trader ʼ.(CDIAL 12178)

Image result for h196 bharatkalyan97


Image result for bharatkalyan97 lathe portable furnace


Hieroglyph:er-aka 'upraised hand' (Tamil) erhali to hold out the hand;(Kui) erke, erkelů rising (Tulu)(DEDR 905) Rebus: eṟaka, eraka any metal infusion (Kannada); moltencast, cast (as metal) (Tulu)(DEDR 86) ; molten state, fusion. 



Utsavodaya (उत्सवोदय).—The height of the vehicle animal in comparison with that of the principal idol; मूलबेरवशं मानमुत्सवोदयमीरितम् (mūlaberavaśaṃ mānamutsavodayamīritam) (Mānasāra.64.91-93). ईरित said, uttered, sent , despatched. Mānasāra discusses the height of the vāhana compared to the मूलबेर, 'principal pratimā taken in a procession. Thus, बेर, refers to the symbol taken in procession. The purpose of this procession of बेर is to promote trade, udyama, by advertising products and processes used to produce bright, blazing products. Hence, the processions of symbols depicted on Indus Script tablets and on Mari marble frieze of a procession with a priest carrying a flagstaff made of holcus sorghum, khonda, with a khonda 'young bull' symbol rebus:khoda 'alloy metal'; kō̃da कोँदकुलालादिकन्दुः f. a kiln; a potter's kiln PLUS singhin 'spiny horn' rebus: singi 'ornament gold' standing on kasa 'rein ring' rebus: kamsa 'bell-metal'. Among the symbols carried on Mohenjo-daro procession tablet are 1) the same one-horned, spiny-horned, young bull and 2) a standard device held aloft on a flagstaff.

आगटी   āgaṭī f आगटें n (आग) A heap of sticks and straws kindled: also a few embers or livecoals placed in a vessel, a chafing dish. 2 A goldsmith's fire-pot, a cruset. Pr. सोनाराचें पाहणें आगटींत.  आकटी ākaṭī f (Better आगटी q. v.) A chafing-dish; a cruset  अटणी   aṭaṇī f A goldsmith's cruset or crucible. 2 The roller inserted betwixt the two lines composing the warp, to keep the space open for the play of the shuttle. 3 A common term for the two sticks passing across the warp, (the one over it, the other under it,) and constituting, together with the cords called गोमटे, the member called ओवी or वही.

अटणी   aṭaṇī f (Verbal of अटणें) Melting or fusing (of metals). 

भेर   bhēra f ए R A crack, cleft, fissure. bhēdá n. ʻ cleft, fissure ʼ RV., ʻ division, separation, distinction ʼ ŚrS. [√bhid]

Pa. bhēda -- m. ʻ break, disunion, dissension ʼ; Pk. bhēa -- m. ʻ separation, sort, kind ʼ; N. bheu ʻ nature, condition ʼ; Or. bheu ʻ a secret ʼ (whence bheuā ʻ spy ʼ), OAw. bheū˘, H. bheubhewā m.; OG. bhev ʻ way, means ʼ, G. bhev m. ʻ secret ʼ; Si. beya ʻ part, division, distinction ʼ; -- P. abheu ʻ indistinguishable ʼ; H. abhew m. ʻ similarity ʼ; -- ext. -- kk -- : N. bhek ʻ locality ʼ; M. bhek n. ʻ slice, division ʼ, bhekṇẽ ʻ to split, slice ʼ. -- Ku. bhiyõ m. ʻ share of the meat of an animal killed for sale ʼ?bhēdakara -- .Addenda: bhēdá -- : WPah.kṭg. bhèu m. ʻ information, secret ʼ.(CDIAL 9610)

  भेर   bhēra f (भेरी S) A large kind of kettledrum. 9615 bhḗrī -- , ˚ri -- f. ʻ kettledrum ʼ MBh., bhēra -- m. lex.
Pa. bhēri -- f., Aś.shah. man. bheri -- , gir. bherī -- , kāl. dh. bheli -- , Pk. bhērĭ̄ -- f., S. bheri f., L. bhēharbhēhr m., (Shahpur) bhḕr, G. bheri f., M. bher f.; Si. berayaberē ʻ small drum ʼ.
*bhērīvādaka -- .
Addenda: bhḗrī -- : Md. beru ʻ drum ʼ.
   9616 *bhērīvādaka ʻ drum -- player ʼ. [bhḗrī -- , vādaka -- ]
Pa. bhērivādaka -- m. ʻ drummer ʼ, Si. beravāyā.

பேரம்¹ pēram , n. < Pkt. bēra. [T. bēramu, K. bēra.] 1. Sale, trade; விற்பனை. 2. Bargaining, higgling and haggling; ஒப்பந்தத்திற்குமுன் பேசும் விலைப்பேச்சு. பேரஞ்சொல்லாமற் கறாராகச் சொல்லு. 3. High value; கிராக்கி.
   பேரம்² pēram , n. < bēra. 1. Form, shape; வடிவம். (நன். 273, மயிலை.) 2. Body; உடம்பு. 3. Idol; விக்கிரகம். உத்ஸவபேரம்.
 బేరి౛ు  bērīḍzu. [H.] n. An account. A total sum, మొత్తము.
   బేరి  bēri. [from Skt. భేరి.] n. A kettle drum. దుందుభి, నగరా.
   బేరము  bēramu. [Tel.] n. Trade, dealing, a bargain, బేరముసారము or బేరసారము trade, &c. (సారము being a mere expletive.) బేరకాడు bēra-kāḍu. n. One who makes a bargain, a purchaser, buyer. కొనువాడు, బేరమాడువాడు. బేరకత్తె bēra-katte. n. A woman who bargains or purchases. బేరమాడు or బేరముచేయు bēram-āḍu. v. n. To bargain. బేరముపోవు to go on a trading journey. బేరి bēri. n. A man of the Beri or merchant caste.

   బేహారము  or బేహరము bēhāramu. [from Skt. విహారము.] n. Trade, commerce, వాణిజ్యము, వర్తకవ్యాపారము, బేరము. "అంగళ్లునిలిపె బేహారముల్ మాన్చె." BD. iv. 61. బేహారి or బెహారి bēhāri. n. A merchant. వణిజుడు, వర్తకుడు. 
वेपार   vēpāra m (व्यापार S through H) Traffic, trade, commerce.
   वेपारी   vēpārī m (बेपार or H) A merchant, trader, dealer.
   उद्यम   udyama m (S) Business or occupation: also busiedness, occupiedness, engagedness.
   उद्यमी   udyamī a S Ever engaged or occupied: also diligent, assiduous, sedulous.   उदीम   udīma m (उद्यम S) Traffic, trade, business, dealing. Pr. उ0 करितां सोळा बारा शेत करितां डोईवर भारा If you trade, expect to meet with losses: if you till, be content to carry loads. 2 Laxly but popularly. Applied to the crops or produce of one's field, plantation, or market-garden. उ0 करणें fig. To lose in business (i.e. to trade wrongly).
   उदीमपट्टी   udīmapaṭṭī f Tax on grain dealers.
   उदीमव्यवसाय   udīmavyavasāya m उदीमव्यापार m उदीमपादीम m Comprehensive or careless terms for Trade or business. (Marathi)
Bera Utsav
उत्-सव enterprise , beginning RV. i , 100 , 8 ; 102 , 1; joy, gladness, merriment उत्- √ सू P. -सुवति , to cause to go upwards Ka1t2h. xix , 5  ; 
(-सुनोति) , to stir up , agitate BhP. iii , 20 , 35. (Monier-Williams)
   उत्सवः   utsavḥ उत्सवः [उद्-सू-अप्] 1 A festival, joyous or festive occasion, jubilee; रत˚ Ś.6.2; ताण्डव˚ festive or joyous dance. U.3.18 (v. l.); Ms.3.59. -2 Joy, merriment, delight, pleasure; स कृत्वा विरतोत्सवान् R.4.78,16.1; Mv.3.41; Ratn.1.23; Śi.2.61; पराभवोप्युत्सव एव मानिनाम् Ki.1.41. -3 Height, elevation. -4 Wrath, -5 Wish, rising of a wish. तावुभौ नरशार्दूलौ त्वद्दर्शनकृतोत्सवौ Rām.5.35.23. -6 A section of a book. -7 Enterprise. -8 An undertaking, beginning. -Comp. -उदयम् The height of the vehicle animal in comparison with that of the principal idol; मूलबेरवशं मानमुत्सवोदयमीरितम् (Māna- sāra.64.91-93). -विग्रहः Image for procession (Kondividu Inscription of Kriṣṇarāya). -सङ्केताः (m. pl.) N. of a people, a wild tribe of the Himālaya; शरैरुत्सवसङ्केतान् स कृत्वा विरतोत्सवान् R.4.78. (Apte)

Bera Utsav celebrated in Murshidabad, West Bengal
Line 1: dula 'two' rebus: dul 'metal casting' dATu 'cross' rebus: dhatu 'mineral ore' PLUS dula 'two' rebus: dul 'metal casting'; thus metal castings of mineral ores. baTa 'rimless pot' rebus: baTa 'iron' rebus: baTha 'furnace'. Thus, metalcasting furnaceLine 2:  muka 'ladle' rebus; mū̃h 'ingot',PLUS baṭhu 'pot' rebus: bhaṭa 'furnace'.; 
kuṭi 'water-carrier' (Telugu) Rebus: kuṭhi 'smelter'. Thus, smelter (to produce) ingots.
Line 3: 
 kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow' rebus:  kaṇḍa  'equipment'; kanda kanka 'equipment supercargo, scribe' ranku 'liquid measure' rebus:ranku 'tin ore'. Thus, arrows and tin (alloy) equipment.

Related image
kunda, mukunda, kharva are two of the nine treasures of Kubera. I suggest that the treasure categories are material resources and produced artifacts of Bronze Age: kunda signifies ‘fine gold’; mukunda signifies ‘halberd, combined spear and battle-axe’; kharva rebus: karba signifies ‘iron’.
In Harappa (Indus) Script, two hieroglyphs signify kunda ‘fine gold’ and karba ‘iron’. The hieroglyphs read rebus in Meluhha words are:  खोंड khōṇḍa m A young bull, a bullcalf) one-horned young bull and karb ‘culm of millet’ (Punjabi), respectively. (NOTE: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ is a phonetic variant of a worker with gold and lathe: kunda ‘fine gold, lathe.’ खोंड  [khōṇḍa] m A young bull, a bullcalf. (Marathi) खोंडा [khōṇḍā] m A कां बळा of which one end is formed into a cowl or hood; खोंडरूं (p. 216) [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा -cowl. (Marathi) khōṇḍa A tree of which the head and branches are broken off, a stock or stump Rebus: kõdār ‘turner’ (Bengali); kõdā ‘to turn in a lathe’ (Bengali). koḍiya ‘rings on neck‘, koḍ ‘horn’ rebus: koḍ ‘workshop’. కోడియ (p. 326kōḍiya కోడె kōḍe  [Tel.] n. A bullcalf. kodeduda. A young bull (Telugu) (NOTE: the hieroglyph is a hypertext composed of young bull, one horn, pannier (a कां बळा ‘sack’ of which one end is formed into a cowl or hood), rings on neck.)

Standard device and gold fillet with standard device as hieroglyphs of Harappa Script. Lathe is part of the hypertext (together with a portable furnace, dotted circles) normally shown in front of a young bull on Harappa (Indus) inscriptions as a phonetic determinant of kunda ‘lathe’ rebus:kundār ‘lathe-worker’ AND kunda, kundaṇa ‘fine gold’).

kunda 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, kũdākõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibākū̃d° 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. kundakara — .(CDIAL 3295) kundakara m. ʻ turner ʼ W. [Cf. *cundakāra — : kunda — 1, kará — 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)
కుందనము (p. 289) kundanamu kundanamu. [Tel.] n. Solid gold, fine gold. అపరంజి. అపరంజి (p. 62) aparañji aparanji. [Skt.] n. Fine refined gold. కుందనము, పదివన్నె బంగారు, ఉదిరి. అపరంజి (p. 1397) aparañji [H. from Arabic Afran -jiya which means ‘ foreign ‘ and perhaps originates in that word which is derived from ‘ foraneus, ‘ external.] n. Fine gold. అపరంజికాను lit. ‘ foreign coin.’ A Venetian sequin. ఉదిరి (p. 157) udiri  [Tel.] adj. Fine, pure. Refined. తప్తము, ఉదరి బంగారు fine gold అపరంజి R. vii. 184.  పదియార్వన్నె పసిండి fine gold. குந்தனம் kuntaṉam n. < T. kundanamu. 1. Interspace for enchasing or setting gems in a jewel; இரத்தினம் பதிக்கும் இடம். குந்தனத்தி லழுத்தின . . . ரத்தினங்கள் (திவ். திருநெடுந். 21, வ்யா. பக். 175). 2. Gold, fine gold; தங்கம். (சங். அக.) “Sequin (the French form of Ital. zecchinozecchino d’oro), the name of a Venetian gold coin, first minted about 1280, and in use until the fall of the Venetian Republic. It was worth about nine shillings. It bore on the obverse a figure of St Mark blessing the banner of the republic, held by a kneeling doge, and on the reverse a figure of Christ. Milan and Genoa also issued gold sequins. The word in Italian was formed from zecca, Span. zeca, a mint, an adaptation of Arabic sikka, a die for coins. In the sense of “newly-coined,” the Hindi or Persian sikka, anglicised sicca, was specifically used of a rupee, containing more silver than the East India Company’s rupee, coined in 1793 by the Bengal government. ” (1911 Encyclopaedia Britannica). Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇpure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold.(DEDR 1725)
Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. kunda block, log. ? Cf. Ta. kantu pillar, post.(DEDR 1723)
Ta. kuntam haystack. Ka. kuttaṟi a stack, rick.(DEDR 1724)
Ta. kuntāli, kuntāḷi pickaxe. Ma. kuntāli, kūntāli id. Kurub. (LSB 1.11) kidli a spade. Ko. kuda·y hoe. Ka. guddali, gudli a kind of pickaxe, hoe. Koḍ. guddali hoe with spade-like blade. Tu. guddali, guddoli, (B-K.) guddoḷi a kind of pickaxe; guddolipuni to dig with a pickaxe. Te. guddali, (VPK) guddiliguddela, guddēli, guddēlua hoe; guddalincu to hoe. Nk. kudaḷ spade. Go. (G. Mu.) kudaṛ spade, axe; (Ma. M. Ko.) guddaṛ spade, hoe (Voc. 749); (LuS.) goodar hoe. Konḍa gudeli hoe-like instrument for digging. Malt. qodali a spade. Cf. 1719 Ta. kuttu. / Cf. Skt. kuddāla spade, hoe; Turner, CDIAL, no. 3286.(DEDR 1722)
Halberd-axe head with the head of a mouflon. Luristan bronze. late 2nd millennium–early 1st millennium BC. From AmlashGilan, Iran.
குண்டகம் kuṇṭakam n. < T. guṇṭaka. Garden hoe, scuffler; மண்பறிக்குங் கருவிவ
Image result for halberdముకుందబల్లెము mukunda-ballemu. n. A halberd or broad bladed spear. ఒకయీటె, a combined spear and battleaxe. ముకుందుడు mukundu-ḍu. n. A name of Vishṇu. मुकु [p= 819,2] m. = मुक्ति (a word formed to explain , मुकुन्-द as ” giver of liberation ” ; others assume मुकुम् ind. ) L.
kār-kund (corrup. of P کار کن) adj. Adroit, clever, experienced. 2. A director, a manager; (Fem.) کار کنده kār-kundaʿh. (Pashto) This is a compound expression  khār  खार् PLUS kunda — ‘blacksmith, iron worker’ PLUS kunda ‘turner’. A possible variant of Samskritam compound expression: kundakara m. ʻ turner ʼ W. [Cf. *cundakāra — : kunda — 1, kará — 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)

Indus Script hypertexts are a writing system to create document archives of wealth-accounting ledgers, metalwork catalogues (as marketing promotions/presentations as seen on imageries of hieroglyphs taken on procession.
Image result for one-horned bull sealMohenjo-daro seal. Source:http://www.sindhishaan.com/gallery/manuscripts.html Harappa Script inscription on seal signifies hypertext of one-horned young bull (with rings on neck, pannier and one horn) + standard device (kõdār ‘turner’ + samgara ‘manager’+ text of inscription: dATu ‘cross’ rebus: dhatu ‘red (copper) mineral ore’ + maṇḍā ‘raised platform, stool’ Rebus: maṇḍā ‘warehouse’).

Gold fillet. Punctuated design on both ends. Mohenjodaro. http://www.imagesofasia.com/html/mohenjodaro/gold-fillet.html

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.
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Proclamation of procession tablets of Mohenjo-daro

A procession of iron, metalcasting workers is shown on the Mohenjo-daro tablets.

Image result for standard device indus scriptm0490At m0490Bt Tablet showing Meluhha combined standard of four standards carried in a procession, comparable to Tablet m0491. 
m0491 This is a report on the transition from lapidary to bronze-age metalware in ancient Near East. 

eraka 'nave of wheel' Rebus: moltencast copper

dhatu 'scarf' Rebus: mineral ore dhāūdhāv m.f. ʻa partic. soft red stoneʼ (Marathi)  (whence dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻ composed of or relating to iron ʼ)
kōnda 'young bull' Rebus: turner
sãgaḍ 'lathe' Rebus: sangara proclamation
kanga 'portable brazier' Rebus: fireplace, furnace
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Image result for h196 bharatkalyan97
Note the doted circles on the bottom register of the hieroglyph-multiplex of the standard device. These signify the semantics: 'full of holes'. The signifier is the word:  Pk. kāṇa -- ʻ full of holes ʼ, G. kāṇũ ʻ full of holes ʼ, n. ʻ hole ʼ (< ʻ empty eyehole ʼ?(CDIAL 3019)kaṇa (pl. kaṇul) hole; (Go.)(DEDR 1159) Pe. kaṇga (pl. -ŋ, kaṇku) eye.  Rebus: kanga ' large portable brazier, fire-place' (Kashmiri). Thus, the standard device is a combination of two hieroglyh components signifying: lathe, portable brazier: sangaDa + kanga Rebus: proclamation (collected products out of)+ fireplace. 


Detail of the Mari Ishtar temple victory parade: thestand topped by the image of unicorn wild bull (excavationno. M-458), height 7cm. (After Parrot 1935: 134, fig. 15)

a     

a)A procession of four men holding up stands topped by various things including a ‘unicorn’ bull. Terracotta tablet M-490 (HR 1443) from Mohenjo-daro; b) Terracotta tablet M-491 (HR 1546) from Mohenjo-daro; c) a unique tablet H-196 (262) from Harappa. After Asko Parpola Figure 6, 2018.

John C. Huntington notes: "Because there are ‘stand alone’ versions, it isreasonable to surmise that the ‘mangers’ have some meaning in their own right."


m2116 Ivory stick object

 Two tablets flanking an object in the round showing the 'standard device'.


"The unicorn always has this object in front of it. There are at least five theories about this object. Mackay and Marshall thought it was the feeding trough or "manger" still seen in Sindh today. There is work connecting it to contemporary offering stands used in central India today. Mackay also guessed that it could have been a cage for birds or insects, or an incense burner. A fifth, more recent theory suggests that the object may have been the filter used to extract the intoxicating Soma drink described in the Rg Veda."
https://www.harappa.com/seal/12.html


Carved Ivory Standard in the middle[From  Richard H. Meadow and  Jonathan Mark Kenoyer,  Harappa Excavations 1993: the  city wall and  inscribed materials, in: South Asian Archaeology ; Fig. 40.11, p. 467. Harappa 1990 and 1993:representations  of ' standard'; 40.11a: H90-1687/3103-1: faience  token; 40.11bH93-2092/5029-1:carved  ivory  standard  fragment  (split in half, made on  a  lathe and was  probably cylindrical in shape; note  the incisions  with  a  circle  motif  while  a  broken  spot  on  the  lower  portion  indicates  where the stand shaft would have been (found in the area of the 'Mughal Sarai' located to the south of Mound E across the Old Lahore-Multan Road); 40.11c H93-2051/3808-2:faience token

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Penn Museum. Cylinder seal. An adorant (followed by a woman) is seen standing before the seated divinity (Ishtar) carrying on his left-hand the comjbined symbol of crucible + sun symbol (of Shamash).
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m0145 Text m1118 The second and thirs signs are comparable to those on tablets with 'standard device' field symbols
h66a The first sign is similar to the sign on h192 text

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https://tinyurl.com/y7o7wf9t

The standard device shown on thousands of Indus Script inscriptions is NOT a Yūpa. This monograph presents reasons why the speculation of links with Yupa are not valid. This is an addendum to:

http://bharatkalyan97.blogspot.com/2017/09/a-short-note-on-iconography-of-sindhu.html

 

Image may contain: one or more peopleThe ancient word is 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; G. sãghāṛɔ m. ʻ lathe 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, m.f. ʻ float made of two canoes joined together ʼ (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) The Tamil word describes the nature of tied/stitched construction (using coir ropes).: கட்டுமரம் kaṭṭu-maram கட்டுமரம் kaṭṭu-maram, n. < id. +. 1. Catamaran, used for deep sea fishing; raft made of logs of wood lashed or joined together; மீன்பிடிப்பதற்காக மரங்களாற் பிணைக்கப் பட்ட மிதவை. 2. Post to which is bound Arāvāṉ to be offered as a sacrifice in the festival of kūttāṇṭai held to commemorate certain incidents in the Mahabharata; கூத்தாண்டை என்ற பாரதக்கதைபற்றிய விழாக்கொண்டாட்டத்தில், அரவானைப் பலியாகக்கொணர்ந்து கட்டும் மரம். Cm.The Ayn Sukhna evidence is stunning; it is dated to ca. 19th cent.BCE.

 The device which appears in front of one-horned young bull on thousands of Indus Script inscriptions is sã̄gāḍā 'joined parts, lathe'. 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.(Marathi). 


Lathe + portable furnace are linked in the pictograph. Dotted circles are dAya rebus: dhAi 'red ores'.dhāū, vaṭṭā 'red stone, mineral (iron ore)' rebus: dhā̆vaḍ 'smelter of magnetite, haematite, laterite ores' 


Hieroglyph:    కమటము  kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి. "చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్"హంస. ii.


Rebus: కమ్మటము  Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste.కమ్మతము  kammatamu Same as కమతముకమ్మతీడు Same as కమతకాడుTa. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)



Another rebus reading for सांगड sāṅgaḍa is samgara 'catalogue'. All IndusScript Inscriptions are metalwork catalogues, wealth-accounting ledgers. Yet another rebus reading is: the ancient accounting system used for invoicing precious commodities on approval basis called: The jangad/Challan made out by the defendant and stated to be signed by the plaintiff as receiver of the goods shown therein evidences the written contract between the parties...https://www.casemine.com/search/in?q=invoice+written+contract In Gujarati, the word jangadiyo means 'a military guard carryiingaccompanies treasure stored in the treasury/warehouse of the state'..





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


Rings on neck, one horn on young bull reinforce the phonetics of: 

कोंद kōnda ‘young bull' Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi)


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



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



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



The text of the inscription includes 'fish' hieroglyph: 



The first hieroglyph on the text read from r: 

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

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


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


Pictorial: lōkhaṇḍa PLUS dhamaka 'iron work blacksmith or iron smith' PLUS  कोंद kōnda ‘engraver, lapidary setting or infixing gems’ 

Text: kolel kaNDa ayaskANDa kancu vaThAra 'quarter of town for smithy, excellent iron, metalware, bronze'.

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


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

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



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


kod. 'one horn'; kot.iyum [kot., kot.i_ neck] a wooden circle put round the neck of an animal (G.)kamarasa_la = waist-zone, waist-band, belt (Te.)kot.iyum [kot., kot.i_ neck] a wooden circle put round the neck of an animal (G.) [cf. the orthography of rings on the neck of one-horned young bull]. ko_d.iya, ko_d.e = young bull; ko_d.elu = plump young bull; ko_d.e = a. male as in: ko_d.e du_d.a = bull calf; young, youthful (Te.lex.) ko_d.iya, ko_d.e young bull; adj. male (e.g., ko_d.e du_d.a bull calf), young, youthful; ko_d.eka~_d.u a young man (Te.); ko_d.e_ bull (Kol.); khor.e male calf (Nk.); ko_d.i cow; ko_r.e young bullock (Kond.a); ko_d.i cow (Pe.); ku_d.i id. (Mand.); ko_d.i id., ox (Kui); ko_di cow (Kuwi); kajja ko_d.i bull; ko_d.i cow (Kuwi)(DEDR 2199). kor.a a boy, a young man (Santali) go_nde bull, ox (Ka.); go_da ox (Te.); konda_ bull (Kol.); ko_nda bullock (Kol.Nk.); bison (Pa.); ko_nde cow (Ga.); ko_nde_ bullock (Ga.); ko_nda_, ko_nda bullock, ox (Go.)(DEDR 2216). Rebus: kot. 'artisan's workshop'.(Kuwi)kod. = place where artisans work (G.lex.) kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165)(Kashmiri) 

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

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

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



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

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


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



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

Rebus: dam 'blast of furnace' (Kashmiri): dhamá in cmpds. ʻ blowing ʼ Pāṇ., dhamaka -- m. ʻ blacksmith ʼ Uṇ.com. [√dham]Pa. dhama -- , °aka -- m. ʻ one who blows ʼ, Pk. dhamaga<-> m.; K. dam m. ʻ blast of furnace or oven, steam of stewing ʼ; -- Kho. Sh.(Lor.) dam ʻ breath, magical spell ʼ ← Pers. dam. dhamana n. ʻ blowing with bellows ʼ lex. [√dham]

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

https://tinyurl.com/yxp8ctwr

This is an addendum to: 

śr̥ṅkhalaka 'chained camels' are rebus शृङ्गि 'ornament gold' tributes on Shalamaneser III obelisk. Seal m296 signifies gold-silversmith 

https://tinyurl.com/yy74wod8 

This addendum identifies and deciphers the two links of a chain shown on m296 seal as कटक kaṭaka 'link of a chain' rebus: कटकम्   kaṭakam 'caravan, an army, a camp' (from a gold-silversmith mint) working with eraka, 'moltencast metals', ayas 'metal alloys', metal equipment [ayaskāṇḍa ‘a quantity of iron,excellent iron’ (Pāṇ.gaṇ)] in a kole.l 'smithy/forge'; 'temple'.

-- కమటము kamaa 'portable furnace' rebus: kamma'mint'.

कटकः कम्   kaṭakḥ kam कटकः कम् 1 A bracelet of gold; कटकाकृतिमुपमृद्य स्वस्तिकः क्रियन्ते Mbh. on I.1.1. आबद्धहेमकटकां रहसि स्मरामि Ch. P.15; Śi.16.77; कटकान्यूर्मिकाश्चापि चित्ररत्न- चयाङ्किताः Śiva. B.17.44. -2 A zone or girdle. -3 A string. -4 The link of a chain. -5 A mat. -6 sea- salt.-9 An army, a camp; आकुल्यकारि कटकस्तुरगेण तूर्णम् Śi.5.59; Mu.5. -1 A royal capital or metropolis (राजधानी). -11 A house or dwelling. -12 A circle or wheel. -13 A ring placed as an ornament upon an elephant's tusk. -14 N. of the capital of Orissa. -Comp. -गृहः A lizard.  
Ta. kaṭikai bolt, sliding catch. Ma. kaṭika peg tied to the well-rope to prevent its slipping from the bucket. Te. gaḍacīla wooden pin with which a bucket is fastened to the pole of a picottah.(DEDR 1130)
  
 कटकिन्   kaṭakin कटकिन् m. A mountain.  कटकः कम्   kaṭakḥ kam  -7 The side or ridge of a mountain; प्रफुल्लवृक्षैः कटकैरिव स्वैः Ku.7.52; R.16.31. -8 Table-land; स्फटिककटकभूमिर्नाटयत्येष शैलः Śi.4.65. (Apte) कटक mn. a royal camp Katha1s. Hit. &c; an army; mn. a multitude , troop , caravan Das3.; mn. collection , compilation Ka1d. 40 , 11; mn. N. of the capital of the Orissa (Cuttack)(Monier-Williams)

शृङ्गिन् 'horned' (RV)(Monier-Williams)शृङ्गिन्   śṛṅgin शृङ्गिन् a. (-णी f.) [शृङ्गमस्त्यस्य इनि] 1 Horned.(Apte) Rebus: शृङ्गि gold used for ornaments (also -कनक) (Monier-Williams)    शृङ्गिः   śṛṅgiḥ शृङ्गिः Gold for ornaments śṛṅgī शृङ्गी Gold used for ornaments (Apte)

Two शृङ्खला 'chain links' are also shown on an Indus Script seal (m296) together two 'unicorn' heads in profile. 

Image result for m296 indus scriptImage result for unicorns nine ficus leaves indus scriptSeal impression of m296

The horns are spiny. Such spiny horns are signified by the Santali word singhin cognate with शृङ्गिन् 'horned' (RV)(Monier-Williams)शृङ्गिन्   śṛṅgin शृङ्गिन् a. (-णी f.) [शृङ्गमस्त्यस्य इनि] 1 Horned.(Apte)

 Rebus readings are: शृङ्गि gold used for ornaments (also -कनक) (Monier-Williams)    शृङ्गिः   śṛṅgiḥ शृङ्गिः Gold for ornaments śṛṅgī शृङ्गी Gold used for ornaments (Apte)

Two heads of 'horned young bulls': dol 'likeness, picture, form' (Santali) dula 'pair' Rebus: dul 'cast iron' (Santali) dul ‘to cast metal in a mould’ (Santali) dul meṛeḍ cast iron (Mundari. Santali) PLUS kunda singi 'horned young bull' rebus: kunda singi 'fine gold, ornament gold'.
Hieroglyphs: śr̥ṅkhala m.n. ʻ chain ʼ rebus शृङ्गिः   śṛṅgiḥ शृङ्गिः Gold for ornaments śṛṅgī शृङ्गी Gold used for ornaments PLUS kaṛā 'ring' (Punjabi) rebus: khār 1 खार् । लोहकारः 'blacksmith, ironsmith' (Kashmiri) Pair: dul khār 'metalcaster smith'.PLUS Hieroglyph of portable furnace with round pebbles: गोटी [ gōṭī ] f (Dim. of गोटा) A roundish stone or pebble. 2 A marble Rebus: गोटी [ gōṭī f (Dim. of गोटा A lump of silver: as obtained by melting down lace or fringe.  Thus, the hypertext reads:  dul gōṭī śṛṅgi khār 'silver, ornament gold metalcaster smith'.
Hieroglyph:Nine, ficus leaves: 1.loa 'ficus glomerata' (Santali) no = nine (B.)  on-patu = nine (Ta.) rebus: lo 'iron' (Assamese) loa ‘iron’ (Gypsy) lauha = made of copper or iron (Gr.S'r.); metal, iron (Skt.); lohakāra = coppersmith, ironsmith (Pali);lohāra = blacksmith (Pt.); lohal.a (Or.); loha = metal, esp. copper or
bronze (Pali); copper (VS.); loho, lo = metal, ore, iron (Si.) loha lut.i = iron utensils and implements (Santali)

kamaṛkom ‘ficus’ (Santali); Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭamcoinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236)
Hieroglyph: Semantic determinative of portable furnace: 
కమటము kamaamu kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి. "చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్"హంస. ii.  కమసాలవాడు (p. 246) kamasālavāḍu Same as కంసాలి. కమసాలవాడు kamasālavāḍu kaṃsāli or కంసాలవాడు kamsāli. [Tel.] n. A goldsmith or silversmith. కమ్మటము  kammaṭamu Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste. Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236)


Text of the Indus Script inscription m296
1387
 kana, kanac =corner (Santali); Rebus: kañcu, 'bell-metal' (Telugu) कंस mn. ( √कम् Un2. iii , 62), a vessel made of metal , drinking vessel , cup , goblet AV. x , 10 , 5 AitBr. S3Br. &c; a metal , tutanag or white copper , brass , bell-metal (Monier-Williams) The rhombus symbols is shaped like an ingot: mũh 'rhombus shape' rebus: mũh ingot'. Thus, bell-metal ingot.
 Ligatured glyph. ṯs̱arḵẖ 'potter'swheel' (Pashto) rebus arka 'copper,gold' eraka 'moltencast, metal infusion' arā 'spoke' rebus:  āra 'brass'. era, er-a = eraka =?nave; erakōlu = the iron axle of a carriage (Ka.M.); cf. irasu (Kannada)[Note Sign 391 and its ligatures Signs 392 and 393 may connote a spoked-wheel, nave of the wheel through which the axle passes; cf. ar ā, spoke]erka = ekke (Tbh.of arka) aka (Tbh. of arka) copper (metal);crystal (Kannada) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) Rebus: eraka

= copper (Ka.)eruvai =copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a = syn. erka, copper, weapons (Ka.)Vikalpa: ara, arā (RV.) = spoke of wheel  ஆரம்² āram , n. < āra. 1. Spoke of a wheel See ஆரக்கால்ஆரஞ்சூழ்ந்த  வயில்வாய்நேமியொடு 

(சிறுபாண்253). Rebus: ஆரம்brass; பித்தளை.(அகநி.)

Sign 123: kui = a slice, a bit, a small piece (Santali.Bodding) Rebus: kuṭhi ‘iron smelter furnace’ (Santali) kuṭhī factory (A.)(CDIAL 3546)

Thus, Part 1 of the hypertext sequence connotes arka 'copper,gold' eraka 'moltencast, metal infusion' and a copper, bronze, brass smelter furnace.

Ayo ‘fish’; kaṇḍa‘arrow’; rebus: ayaskāṇḍa. ayas 'alloy metal' The sign sequence is ayaskāṇḍa ‘a quantity of iron,excellent iron’ (Pāṇ.gaṇ) ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) kaṇḍa ‘fire-altar’ (Santali) DEDR 191 Ta. ayirai, acarai, acalai loach, sandy colour, Cobitis thermalis; ayilai a kind of fish. Ma. ayala a fish, mackerel, scomber; aila, ayila a fish; ayira a kind of small fish, loach. ayir = iron dust, any ore (Ma.) aduru = gan.iyindategadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddha_nti Subrahman.ya’ S’astri’s new interpretationof the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330) DEDR 192  Ta.  ayil iron. Ma. ayir,ayiram any ore. Ka. aduru nativemetal. 
   Tu. ajirdakarba very hard iron अयस् n. iron , metal RV. &c ; an iron weapon (as an axe , &c RV. vi , 3 ,5 and 47 , 10; gold Naigh.; steel L. ; ([cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron ; Goth. eisarn ; Mod. Germ. Eisen.])(Monier-Williams) Thus, in gveda, the falsifiable hypothesis is that ayas signified 'alloy metal' in the early Tin-Bronze Revolution.
     kole.l 'temple, smithy' (Kota); kolme ‘smithy' (Ka.) kol ‘working in iron, blacksmith (Ta.); kollan- blacksmith (Ta.); kollan blacksmith, artificer (Ma.)(DEDR 2133)  kolme =furnace (Ka.)  kol = pan~calo_ha (five metals); kol metal (Ta.lex.) pan~caloha =  a metallic alloy containing five metals: copper, brass, tin, lead and iron (Skt.); an alternative list of five metals: gold, silver, copper, tin (lead), and iron (dhātu; Nānārtharatnākara. 82; Mangarāja’s Nighaṇṭu. 498)(Ka.) kol, kolhe, ‘the koles, an aboriginal tribe if iron smelters speaking a language akin to that of Santals’ (Santali) kolimi 'smithy, forge' (Telugu)

Thus, Part 2 of hypertext reads: ayaskāṇḍa kole.l 'smithy/forge excellent quantity of iron'

Both Part 1 an Part 2 of hypertext together: 

kamsa āra kuṭhi 'bronze (bell-meta), brass smelter'; ayaskāṇḍa kole.l 'smithy/forge excellent quantity of iron (alloy metal)'.

Thus, the pictorial motif and the text message on m296 Indus Script inscription signify a caravan of gold-silversmiths.
kuhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuhieda koles smelt iron (Santali) kuhi, kui (Or.; Sad. kohi) (1) the smelting furnace of the blacksmith; kuire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkui has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuhi = a factory; lil kuhi = an indigo factory (kohi - Hindi) (Santali.Bodding) kuhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuhi yet kana, they are working (or building) the furnace to-day (H. kohī ) (Santali. Bodding)  kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam  = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuhī factory (A.); kohā brick-built house (B.); kuhī bank, granary (B.); koho jar in which indigo is stored, warehouse (G.); kohīlare earthen jar, factory (G.); kuhī granary, factory (M.)(CDIAL 3546). koho = a warehouse; a revenue office, in which dues are paid and collected; kohī a store-room; a factory (Gujarat) ko = the place where artisans work (Gujarati) 
m12812266
S. baṭhu m. ‘large pot in which grain is parched, Rebus; bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) Vikalpa: meṛgo = rimless vessels (Santali) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali); baṭa = a kind of iron (G.) bhaṭṭha -- m.n. ʻ gridiron (Pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656) Rebus: meḍ iron (Ho.) PLUS  muka 'ladle' rebus; mū̃h 'ingot', quantity of metal got out of a smelter furnace (Santali).Thus, this hieroglyph-multiplex (hypertext) signifies: iron ingot.

I suggest that this is a variant of Sign 375
Variants of Sign 375
mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali) खोट (p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. (Marathi) PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon).  khaṇḍa 'implements'. 

kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS dula 'pair' rebus: dul 'metalcasting'. Thus, metalcasting smithy/forge.
dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon).  khaṇḍa 'implements'. 
खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon) rebus: khaṇḍa 'implements'. 
meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic) PLUS dāma ‘fetter’ rebus: meḍ dhā̆vaḍ  ‘iron smelter’  Circumscript: dula 'two' rebus: dul 'metalcasting'. Thus, cast iron. meḍ ‘body’ rebus: mẽṛhẽt ‘metal’, meḍ‘iron, copper (red ores)’ (Mu. Ho. Slavic) < mr̥du ‘iron’ mr̥id ‘earth, clay, loam’ (Samskrtam) (Semantic determinative of ‘ferrite ore’).
(Deśīnāmamālā)
Decipherment of text message: 

kole.l 'temple' rebus: kole.l 'smithy, forge'
kāṇḍá 'arrrow' rebus: khaṇḍá 'equipment'
aya 'fish' rebus: ayas 'alloy metal'
खांडा [ khāṇḍā] m A jag, notch, or indentation (as upon the edge of a tool).This is a hieroglyph-multiplex: slant PLUS notch: DhAL 'slanted'  rebus: DhALako 'large ingot'
kanac 'corner' rebus: kancu 'bell-metal' PLUS tsarkh 'potter's wheel', arka 'sun' rebus: arka 'copper, gold' eraka 'metal infusion'
Decipherment of pictorial motif

kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2 makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Prob. ← Drav., cf. Tam. kaṇ ʻ joint of bamboo or sugarcane ʼ EWA i 197]Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ; Pk. kaṁḍa -- , ˚aya -- m.n. ʻ knot of bough, bough, stick ʼ(CDIAL 3023) Rebus: khaṇḍa 'equipment' PLUS lo, no 'nine' loa 'ficus glomerata'rebus: loh 'copper, metal'. Thus, metal equipment.




कर्णिका f. the pericarp of a lotus MBh. BhP. &c kárṇikā f. ʻ round protuberance ʼ Suśr., Rebus: karaṇī 'scribe, supercargo', kañi-āra 'helmsman'.  कर्णिक having a helm, helmsman (Skt.)

कटक kaṭaka 'link of a chain' rebus कटकम् kaṭakam 'caravan, an army, a camp'.कटक 'collection, compilation'. Thus,helmsman managing the collection of copper metal castings.

dula 'pair' rebus: dul 'metal casting' PLUS mū̃h 'face' rebus: mū̃h 'ingot', quantity of metal got out of a smelter furnace (Santali). Thus dul mū̃h 'metal casting'

skambhá1 m. ʻ prop, pillar ʼ RV. 2. ʻ *pit ʼ (semant. cf. kūˊpa -- 1). [√skambh]
1. Pa. khambha -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ(CDIAL 13639) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)

koḍiya ‘rings on neck‘, koḍ ‘horn’ rebus: koḍ ‘workshop’. కోడియ (p. 326kōḍiya కోడె kōḍe  [Tel.] n. A bullcalf. kodeduda. A young bull (Telugu)  खोंड khōṇḍa m A young bull, a bullcalf) one-horned young bull  Rebus:  खोटसाळ   khōṭasāḷa a (खोट & साळ from शाला) Alloyed--a metal. खोट   khōṭa f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. Hence 2 A lump or solid bit (as of phlegm, gore, curds, inspissated milk); any concretion or clot. खोटीचा Composed or made of खोट, as खोटीचें भांडें.P. khuṇḍ˚ḍā m. ʻ peg, stump ʼ; WPah. rudh. khuṇḍ ʻ tethering peg or post ʼ; A. khũṭā ʻ post ʼ, ˚ṭi ʻ peg ʼ; B. khũṭā˚ṭi ʻ wooden post, stake, pin, wedge ʼ; Or. khuṇṭa˚ṭā ʻ pillar, post ʼ;(CDIAL 3893)

Books (wealth ledgers) in Indus Script are delivered to pilgrims on architraves & friezes of Ancient India, Mari, Nimrud

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https://tinyurl.com/y5omll7h

Indus Script pottige, 'books' are delivered on போதிகை pōtikai 'architraves' of doorways, pillarsand on friezes of processions for pilgrims to see, read, understand meanings and enjoy the documented, written details of heritage of wealth shared and handed down.

போதிகை pōtikai 'architraves' rebus: pottage, pottige 'books'.

Some examples of architraves and friezes with Indus Script meaningful messages are presented in this monograph. Classic examples are 

1.Mari marble frieze
2.Shalamaneser III Black Obelisk
3.Sanchi torana

1. Mari Marble frieze 2500 to 2400 BCE (Source: Louvre Museum https://www.louvre.fr/en/oeuvre-notices/frieze-mosaic-panel

Related imageRelated image
The hieroglyphs on the flagstaff carried by the priest are: karba 'stalk of millet' rebus; karba 'iron' PLUS khonda 'holcus sorghum' rebus: khoD 'alloy metal, wedge'; kã̄s ʼrein, whip' rebus:kã̄so ʻ bronze, pewter, white metal ʼPLUS khonda 'young bull' rebus: khoD 'alloy metal, wedge'; konda 'furnace' PLUS singhin 's[piny-horned' rebus: singi 'ornament gold'.

2. Shalamaneser III Black Obelisk: one of four friezes (859 to 824 BCE)
Image result for mari procession priest unicorn marble friezeOne frieze on Shalamaneser III Black Obelisk of Nimrud.. Monkeys led as tribute offerings from the land of Musri
The offerings are devji and ratni, monkey dressed as male; monkey dressed as female. Rebus readings are: देवजी or देवजीधसाडा   dēvajī or dēvajīdhasāḍā or ड्या m A name given to the male monkey (in monkey-sports) which is accoutred as a man. The female is termed रत्नी. Rebus readings:(Probably) देवधूप   dēvadhūpa m (S) A fragrant resin used in incense, Bdellium.AND रत्निन् possessing or receiving gifts RV. रत्न a gift , present , goods , wealth , riches RV. AV. S3Br.a jewel , gem , treasure , precious stone (the nine jewel are pearl , ruby , topaz , diamond , emerald , lapis lazuli , coral , sapphire , गोमेद ; hence रत्न is a N. for the number 9 ; but accord. to some 14) Mn. MBh. &c

3. Sanchi torana (2nd cent. BCE)
aya 'fish' PLUS dAma 'rope, tied' rebus: ayodhamma 'Arya dharma'
Hieroglyphs read rebus in Meluhha: silpi 'mollusc' rebus: s'ilpin 'architect' PLUS aya 'fish' rebus; aya 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin, mint'. tAmarasa 'lotus' rebus: tAmra 'copper'. PLUS karNika 'percarp of lotus' rebus: karNika 'helmsman, karana 'scribe'. Thus, together, ayo kammata (attested in Mahavamsa). Thus,the entrance message on the doorway of Sanchi proclaims an alloy metal, copper mint.

"In Classical architecture an architrave (/ˈɑːrkɪtrv/; from Italian: architrave "chief beam", also called an epistyle; from Greek ἐπίστυλον epistylon "door frame") is the lintel or beam that rests on the capitals of the columns.The term can also apply to all sides, including the vertical members, of a frame with mouldings around a door or window. The word "architrave" is also used to refer more generally to a style of mouldings (or other elements) framing the top of a door, window or other rectangular opening, where the horizontal "head" casing extends across the tops of the vertical side casings where the elements join (forming a butt joint, as opposed to a miter joint)." (Ching, Francis D.K. (1995). A Visual Dictionary of Architecture. New York: John Wiley & Sons, Inc. pp. 179, 186)

"In mathematics, a frieze or frieze pattern is a design on a two-dimensional surface that is repetitive in one direction. Such patterns occur frequently in architecture and decorative art. A frieze group is the set of symmetries of a frieze pattern, specifically the set of isometries of the pattern, that is geometric transformations built from rigid motions and reflections that preserve the pattern. The mathematical study of frieze patterns reveals that they can be classified into seven types according to their symmetries." (Coxeter, H. S. M. (1969). Introduction to Geometry. New York: John Wiley & Sons. pp. 47–49. loc.cit. https://en.wikipedia.org/wiki/Frieze_group)

-- Ancient Indian friezes are architectural niches or architraves, போதிகை pōtikai with Indus Script pottige, 'books'

Hieroglyphs on ancient Indian architraves or friezes

sippi 'mollusc' rebus: sippi 'architect'

pōtikai 'capital of a pillar, stake' rebus: pottage, pottige'book' *pōstaka ʻ book ʼ. [pusta -- m.n., ˚tā -- f. ʻ book ʼ VarBr̥S., ˚taka -- m.n., ˚tikā -- f. Hariv. -- ← Ir., e.g. Sogd. pwstk ʻ book ʼ ~ Pers. pōst ʻ skin ʼ (< OPers. pavastā -- → pavásta -- : see also *pōstikā -- ) EWA ii 319 with lit.]
Pa. potthaka -- m. ʻ book ʼ, Pk. puttha -- , ˚thaya -- n., ˚thiyā -- f., K. pūthi, dat. pōthĕ f.; S. pothu m. ʻ large book ʼ, ˚thī f. ʻ smaller do. ʼ, P. po(t)thā m., ˚thī f., Ku. pothī f., N. pothi, A. puthi, B. pothā˚thiputhipũthi, Or. pothā˚thiputhi, Mth. pothā˚thī, Bhoj. pōthī, Aw.lakh. H. pothā m., ˚thī f., G. pothũ n., ˚thī f., M. pothī f., Si. pota.*paustaka -- .Addenda: *pōstaka -- : WPah.kṭg. pótthi f. ʻ (small) book ʼ, pótthu m. ʻ small book ʼ, J. pothī f., Garh. pōthī, Md. fot.(CDIAL 8413) *paustaka ʻ keeper of books ʼ. [*pōstaka -- ]Si. pota ʻ keeper of books ʼ SigGr ii 449?(CDIAL 8427)   पुस्   pus पुस् 1 U. (पोसयति-ते) 1 To rub.  पुस्त्   pust पुस्त् 1 U. (पुस्तयति-ते) 1 To bind, tie. पुस्तम्   pustam पुस्तम् 1 Plastering, painting, anointing. -2 Working in clay, modelling. -3 Anything made of clay, wood or metal. -4 A book, manuscript; also पुस्ता-स्ती. -Comp. -कर्मन् n. plastering, painting. -पालः Keeper of land records; EI.XV.13;XX.61.पुस्तकः कम्   pustakḥ kam पुस्तकः कम् 1 A book, manuscript. -2 A protuberant ornament, boss. -आगारम् a library. -आस्तरणम् The wrapper of a manuscript; Hch. -मुद्रा a kind of mudrā mentioned in Tantraśāstra; वाममुष्टिं स्वाभिमुखीं कृत्वा पुस्तकमुद्रिका. -पुस्तिकापूलिकः a collection of manu- scripts; Hch.3.(Apte)

tAmarasa 'lotus' rebus: tAmra 'copper'
In Ancient Indian architectural tradition, architraves or friezes  போதிகை pōtikai -- convey messages through Indus Script hieroglyphs inscribed on them. Thus, they constitute போதிகை pōtikai rebus: pottage, pottige 'books'.






Ta. pōtikai capital of a pillar, stake. Ma. pōtika capital of a pillar, prop, support of a king-post. Ka. bōdige, bōduge capital of a pillar. Koḍ. po·ti niche over a door. Tu. bōdigè id., architrave. Te. bōdiya, bōde trunk of a tree, cornice (DEDR 4585)
போதிகை pōtikai , n. [T. bodhia, K. bōdiga.] See போதிகைக்கட்டை. போதிகைத் தலத்து (கம்பரா. நகரப். 25).   போதிகைக்கட்டை pōtikai-k-kaṭṭai , n. < போதிகை +. 1. Capital of a pillar; cap of a wooden post; தூண்மேல் வைக்கும் தாங்குகட்டை. 2. Stake; குறுந்தறி. (பிங்.)   போதிகைத்தூண் pōtikai-t-tūṇ , n. < id. +. A short, stout pillar; குறுந்தூண். (யாழ். அக.)

போதிகை pōtikai is a frieze. "In architecture, the frieze /frz/ is the wide central section part of an entablature and may be plain in the Ionic or Doric order, or decorated with bas-reliefsPaterae are also usually used to decorate friezes. Even when neither columns nor pilasters are expressed, on an astylar wall it lies upon the architrave ("main beam") and is capped by the moldings of the cornice. A frieze can be found on many Greek and Roman buildings, the Parthenon Frieze being the most famous, and perhaps the most elaborate. This style is typical for the Persians.https://en.wikipedia.org/wiki/Frieze


Sankissa elephant abacus detail.jpg
Frieze of the Sankissa elephant, 3rd BCE
Elephant capital Sankasya.jpgSankissa pillar
Rampurva bull capital, detail of the abacus, with two "flame palmettes" framing a lotus surrounded by small rosette flowers, 3rd BCE
Rampurva bull in Presidential Palace high closeup.jpgRampurva capital
Frieze of the lost capital of the Allahabad pillar, with two lotuses framing a "flame palmette" surrounded by small rosette flowers, 3rd BCE
Frieze of the lost capital of the Allahabad pillar, with two lotuses framing a "flame palmette" surrounded by small rosette flowers.




Bodhi1 (f.) [fr. budh, cp. Vedic bodhin -- manas having an attentive mind; RV v.75, 5; viii.82, 18] (supreme) knowledge, enlightenment, the knowledge possessed by a Buddha

https://tinyurl.com/y9dgckgl

"The Rampurva capitals are the capitals of a pair of Ashoka Pillars discovered in c. 1876 by A.C.L. Carlleyle.The archaeological site is called Rampurva, and is located in the West Champaran district of the Indian state of Bihar, situated very close to the border with Nepal.[3] The two capitals are in the Indian Museum in Kolkota." https://en.wikipedia.org/wiki/Rampurva_capitals


Indus Script hypertexts seen on Rampurva Aśoka pillars, copper bolt (metal dowel), bull & lion capitals are proclamations, ketu -- yajñasya ketu--  of Soma Yāga performance. 
All the pillars of Ashoka are built at Buddhist monasteries. “The pillars have four component parts in two pieces: the three sections of the capitals are made in a single piece, often of a different stone to that of the monolithic shaft to which they are attached by a large metal dowel. The shafts are always plain and smooth, circular in cross-section, slightly tapering upwards and always chiselled out of a single piece of stone. The lower parts of the capitals have the shape and appearance of a gently arched bell formed of lotus petals. The abaci are of two types: square and plain and circular and decorated and these are of different proportions. The crowning animals are masterpieces of Mauryan art, shown either seated or standing, always in the round and chiselled as a single piece with the abaci.” https://en.wikipedia.org/wiki/Pillars_of_Ashoka#cite_ref-7
Geographical spread of known pillar capitals.
Image result for rampurva indus scriptBull capital, lion capital on Rampurva Aśoka pillarss
An Indus Script hypertext message on the copper bolt which joins the bull capital with the pillar is about metalwork competence of artisans of Rampurva who made the pillar with capital. The decorative motifs on the abacus are also Indus Script hypertexts documenting metallurgical competence.
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An early representation of a zebu, on the Rampurva capital of the Pillars of Ashoka, third century BCE.पोळ pōḷa 'zebu, bos indicus' rebus: पोळ pōḷa 'magnetite (a ferrite ore)'  पोळा (p. 305) pōḷā m (पोळ) A festive day for cattle,--the day of new moon of श्रावण or of भाद्रपद. Bullocks are exempted from labor; variously daubed and decorated; and paraded about in worship.  पोळ (p. 305) pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large. 

कर्णक kárṇaka, 'pericarp of lotus' karaṇī 'scribe, supercargo', kañi-āra 'helmsman'. Supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.
tāmarasa 'lotus' (Pkt.) rebus: tāmra, tamba 'copper'

Lotus base of an Ashokan capital from Odisha.


Frieze of the lost capital of the Allahabad pillar, with two lotuses with multiple calyx, framing a "flame palmette" surrounded by small rosette flowers, over a band of beads and reels.
John Murray, 1876 - Illustration for History of Indian and Eastern Architecture by James Fergusson (John Murray, 1876).
"The palmette is a motif in decorative art which, in its most characteristic expression, resembles the fan-shaped leaves of a palm tree. It has a far-reaching history, originating in ancient Egypt with a subsequent development through the art of most of Eurasia, often in forms that bear relatively little resemblance to the original. In ancient Greek and ancient Roman uses it is also known as the anthemion (from the Greekανθέμιον, a flower).https://en.wikipedia.org/wiki/Palmette

An antefix (from Latin antefigere, to fasten before) is a vertical block which terminates the covering tiles of a tiled roof.

Antefixes in position.
An antefix in the form of a palmette. Frond is a large, fanlike leaf of a palm tree..
Ta. kara-tāḷam palmyra palmKa. kara-tāḷa fan-palm, Corypha umbraculifera Lin. Tu. karatāḷa cadjan. Te. (B.) kara-tāḷamu the small-leaved palm tree.(DEDR 1270) *tāḍa3 ʻ fan -- palm ʼ, tāḍī -- 2 f. in tāḍī -- puṭa -- ʻ palm -- leaf ʼ Kād., tāla -- 2 m. ʻ Borassus flabelliformis ʼ Mn., tālī -- , °lakī -- f. ʻ palm -- wine ʼ W. [Cf. hintāla -- ]
Pa. tāla -- m. ʻ fan -- palm ʼ, Pk. tāḍa -- , tāla -- , tala -- m., tāḍī -- , tālī -- f., K. tāl m., P. tāṛ m., N. tār (tāṛ ← H.), A. tāl, B. tāṛ, Or. tāṛatāṛitāḷa, Bi. tārtāṛ, OAw. tāra, H. G. tāṛm., M. tāḍ m., Si. tala. -- Gy. gr. taró m., tarí f. ʻ rum ʼ, rum. tari ʻ brandy ʼ, pal. tar ʻ date -- spirit ʼ; S. tāṛī f. ʻ juice of the palmyra ʼ; P. tāṛī ʻ the fermented juice ʼ; N. tāṛī ʻ id., yeast ʼ (← H.); A. tāri ʻ the fermented juice ʼ, B. Or. tāṛi, Bi. tārītāṛī, Bhoj. tāṛī; H. tāṛī f. ʻ the juice, the fermented juice ʼ; G. tāṛī f. ʻ the juice ʼ, M. tāḍī f. <-> X hintāla -- q.v.tālavr̥nta -- ; *madatāḍikā -- Addenda: tāḍa -- 3: S.kcch. tāṛ m. ʻ palm tree ʼ.(CDIAL 6750) tālavr̥nta n. ʻ palm -- leaf fan ʼ MBh., °aka -- n. lex. [*tāḍa -- 3, vr̥nta -- 1]Pa. tālavaṇṭa -- , ta° m. ʻ fan ʼ, Pk. tālaveṁṭa -- , °voṁṭa -- , tāliaṁṭa -- , talaveṁṭa -- , °viṁṭa -- n.; Si. talväṭa ʻ palmyra fan' (CDIAL 5802)

"From the 5th century, palmettes tended to have sharply splaying leaves. From the 4th century however, the end of the leaves tend to turn in, forming what is called the "flame palmette" design. This is the design that was adopted in Hellenistic architecture and became very popular on a wide geographical scale. This is the design that was adopted by India in the 3rd century BCE for some of its sculptural friezes, such as on the abaci of the Pillars of Ashoka, or the central design of the Pataliputra capital, probably through the Seleucid Empire or Hellenistic cities such as Ai-Khanoum." https://en.wikipedia.org/wiki/Palmette (loc.cit. "Reflections on The origins of Indian Stone Architecture", John Boardman, p.16). Reflections on the Origins of Indian Stone Architecture JOHN BOARDMAN
Bulletin of the Asia Institute New Series, Vol. 12, Alexander's Legacy in the East Studies in Honor of Paul Bernard (1998), pp. 13-22 Published by: Bulletin of the Asia Institute, a Non-Profit Corporation http://www.jstor.org/stable/24049089
"Flame palmette" design (center) at Didyma, 3rd century BCE.
Several antefixae with "flame palmette" designs, Ai Khanoum, Afghanistan, 2nd century BCE.

sangi 'mollusc', sangi 'pilgrim'; 

sippi 'mollusc', śilpin, sippi 'artificer'. 

sippī f. ʻ shell, spathe of date palm ʼ Rebus: sippī 'sculpture, sculptor'.

Hieroglyph: spathe, buds flanked by molluscs -- atop a ring flanked by two petas, dala 'petal'. DhALako 'ingot'.

Hackin 1954, p.169, figs.18 Ivory? Size: 10.6 x 15.8 x 0.4 cm Begram rectangular plaque depicting three palmettos with curled-up ends, held together by rings made up of lotus petals. Between the palmettos elongated fruit is shown . This scene is bordered by a band depicting a series of four-leaved flowers set in a square frame. In this hieroglyhphic multiplex, there are three distinct orthographic components:

Mollusc 1. mollusc (snail) pair depicted by a pair of antithetical S curved lines: sã̄khī Rebus: sã̄kh ʻconch-shell-cutterʼ

Palmetto or Spathe 2. spathe of a palm or palmetto: sippī f. ʻspathe of date palmʼ Rebus: sippi 'artificer, craftsman'. It could also be seen as a chisel:śaṅkula Rebus: sangin 'shell-cutter'.
Tied together, cord 3. a thread or cord that ties the mollusc pair and spath in the centre together into a composite orthographic unit. dām ʻropeʼ Rebus: dhamma 'dharma' dham̄a ʻemployment in the royal administrationʼ.  http://bharatkalyan97.blogspot.in/2015/06/deciphering-indus-script-meluhha.html
Hieroglyph on a Begram ivory plaque: a pair of molluscs tied with a chisel
Hieroglyph: śaṅkula 'chisel' Rebus: sangin 'shell-cutter'. sangi 'mollusc' Rebus: sangi 'pilgrim'. Dama 'cord, tying' Rebus: dhamma 'moral conduct, religious merit'. A variant ties a fish with the hieroglyph complex: ayira, ayila 'fish' Rebus: ayira, ariya 'noble conduct'. Thus connoting ariya-dhama, ayira-dhamma; ariya-sangha, ayira-sangha (Pali). 
Torana from Mathura and Mathura lion capital which incorporates many hieroglyph elements later to be found in Bharhut-Sanchi: Pair of tigers (lions?), molluscs, srivatsa
Bharhut. Capital of Gateway post (After Cunningham)

Frieze of capital of Lat at Allahabad, with flame palmette within multiple calyx lotuses. Similarities with a frieze from Delphi featuring lotus with multiple calyx:
 
"Flame palmettes" around a lotus, Detail of Rampurva bull capital, detail of the abacus.
The abacus of the bull capital shows pericarp of lotus, rhizomes, palm fronds. These signify: कर्णिक, कर्णिका f. the pericarp of a lotus rebus: कर्णिका 'steersman, helmsman' (seafaring merchant) PLUS (base of the abacus) tāmarasa 'lotus' rebus: tāmra 'copper' PLUS sippi 'mollusc', śilpin, sippi 'artificer'. Thus, the hypertext message is: helmsman, coppersmith artificer.

Related image
Lion Capital Chunar Sandstone Circa Century BCE Rampurva AC CN 62 98 62 99 Indian Museum Kolkata 2014 4350Lion Capital found at Rampurva. The abscus is decorated with varāha. The abacus of the lion capital show decorative motifs of aquatic birds, hamsa and varāha 'boars'. These Indus Script motifs signify: বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [bārakaśa or bārakasa]
 n ( P) A trading vessel, a merchantman. karaṇḍa ‘duck’ (Sanskrit) karaṛa ‘a very large aquatic bird’ (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 

The animals on the capital are Indus Script hypertexts: 

1. Zebu: पोळ pōḷa 'zebu, bos indicus' rebus: पोळ pōḷa 'magnetite (a ferrite ore)'
2.. arā 'lion' rebus: āra 'brass', ārakūṭ'brass alloy'

The pillars upholding the capital are Indus Script hypertexts: skambha 'pillar' rebus: kampaṭṭam, kammaṭa 'mint, coiner, coinage'.

Thus, these pillars with animal capitals of Rampurva are proclamations of metal- and mint-work by artisans of Rampurva. The tradition of mounting a pillar as a proclamation of performance of Soma Yāga is a tradition documented in R̥gveda which refers to an octagonal pillar as ketuaṣṭāśri yūpa, ketu to proclaim a somasamsthā yāga. The expression used describe the purport of the yūpa is:  yajñasya ketu (RV 3.8.8).

Location
Rampurwa, Champaran, Bihar, India  
Date
Upto 3rd century BC
ca 299-200 BCE  
Description
Plaster of Paris Stucco, 200 x 135 cm  
Status
Architectural fragment
Presently located at: Calcutta, Indian Museum 
View
Overview  
Image Identification
Accession No 36104
Negative No 249.87
American Institute of Indian Studies, Varanasi  
Notes
American Institute of Indian Studies, Varanasi 

"According to Cunningham, who wrote about the pillars says, that he excavated the surrounding of the site and disconnected its broken Capital from the shaft. The Capital was fastened to the shaft by a solid barrel shaped bolt of pure copper, measuring two and a half feet long and 5-5/16 inches in diameter at the centre and tapered slightly towards the ends where its circumference was 3-5/8 inches. The bolt projected exactly half its length or 1-1/4 inches from the shaft, and the projecting portion received the Capital; both ends were beautifully fitted into the stone, thus dispensing with any cement substance to firmly hold it together. The copper bolt was an exquisite piece of work, created into shape apparently with a hammer. The bolt is now kept in the Indian Museum, Kolkata and weighs 79 ½ lbs.Ref: Cunningham, ASI, XVI, pp.110-117; Carlleyle, CASI, XXII, pp.51-57; An. Rep., ASI, 1902-3, pp.38-40; 1907-8, pp.181-88; An Rep., ASI, E.C. 1906-7, p.16; 1912-13, p.36; BDG, Champaran, pp. 172-74. http://bhpromo.org.in/index.php?option=com_content&view=article&id=47&Itemid=54

The bolt is apparently forged into form by hammer after being cast. This is confirmed by the inscription on the bolt written in Indus writing. The lexeme is: koṭe ‘forging (metal)(Munda) 
The use of the Indus script glyphs on 
Rampurva copperbolt*** reinforce the decoding of smithy repertoire.


***Rampurva copper bolt “The starting place for the inquiry is the Rampurva copper bolt at present in the Indian Museum, Calcutta. This was discovered in 1880 by Cunningham and H.B. Garrick. It was buried beside the fallen southerly pillar on which was engraved a set of Asoka’s pillar edicts. The pillar and its lion capital were subsequently fully excavated by Daya Ram Sahni. The more northerly Rampurva pillar is that associated with the famous bull capital. The bolt was examined by Cunningham who concluded that there could be n doubt of its being original and that it must have served to hold the lion capital in place upon its pillar. It is probable that other Asokan pillars and capitals bear mortises for similar bolts. This one is described as barrel shaped, of pure copper measuring 2 ft. ½ in. in length, with a diameter of 4 5/16 in. in the centre, and 3 5/8 in. at each end. Cunningham makes no mention of any marks upon the bolt, but Durga Prasad published an impression of four marks. They are made of lines of impressed dots and include the hill-with-crescent, the taurine or Nandipada, and the open cross:

Here these signs occur upon an object which must have been made by craftsmen working for Asoka or one of his predessors.” (F.R. Allchin, 1959, Upon the contextual significance of certain groups of ancient signs, School of Oriental and African Studies, London.)

goṭ 'seed' Rebus: koṭe ‘forging (metal)(Munda); khoṭ 'alloy ingot'. खोट (p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. (Marathi) 
kanda 'fire-altar' Rebus: khaṇḍa 'metal implements'. 
goṭ 'round object' Rebus: khoṭ 'alloy ingot' PLUS bhaṭa 'rimless pot' Rebus: bhaṭa 'furnace'; dhanga 'mountain-range' Rebus: dhangar 'metalsmith' PLUS bhaṭa 'rimless pot' Rebus: bhaṭa 'furnace'. Thus, the inscription on the Rampurva copperbolt provides technical specification on the metal object, the copper bolt: that it was made of an alloy ingot (from) furnace, (made by) metal implements metalsmith.

Alternative: goṭ  'round object' Rebus: khoṭ 'alloy ingot' PLUS dula 'pair' rebus: dul 'metal casting' PLUS ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'PLUS khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mintKa. kammaṭa id.; kammaṭi a coiner. (DEDR 1236)

Thus, the Indus Script hypertext on the Rampurva copper alloy bolt is a message of the professional competence of metalsmiths of the Bronze Age at Rampurva: alloy metal castings, metal furnaces, ingots, metalsmithy, mintwork.
Hieroglyphs on the two-and-a-half feet long Rampurva copper bolt which joinss the bull capital to the pillar:
1. goṭ 'seed' Rebus: koṭe ‘forging (metal)
2. kanda 'fire altar' rebus: khaṇḍa 'metal implements'. 
3. goṭ 'round, stone' Rebus: khoṭ 'alloy ingot' PLUS aya khambhaṛā 'fish fin' Rebus: aya kammaṭa 'iron mint'
4. ḍanga 'mountain range' rebus: ḍangar 'blacksmith' PLUS bhaṭa 'rimless pot' rebus: bhaṭa 'furnace'.

Thus, the hypertext on the Rampurva copper bolt is 1. a professional calling card of the metalsmithy/forge artisan with competence in forging metal implements, with iron mint and furnace and 2. proclamation of the performance of a Soma Yāga.

Thus, Indus Script hypertexts seen on Rampurva Aśoka pillars, copper bolt, bull & lion capitals are proclamations, ketu -- yajñasya ketu--  of Soma Yāga performance. 

Surprising confirmation of Bronze Age Linguistic Doctrine comes from a copper alloy bolt which holds the Rampurva Capital to the Asokan pillar.

The copper bolt is inscribed with hieroglyphs of Indus writing attesting to two facts: 1. hieroglyphic writing system as a continuum in Indian sprachbund; 2. hieroglyphs denote metallurgical processing.
Rampurva pillar edict text:

          Thus saith king Priyadarsi, Beloved of the Gods. Twelve years after my coronation, records relating to Dharma were caused to be written by me for the first time for the welfare and happiness of the people, so that, without violation thereof, they might attain the growth of Dharma in various respects.

          Thinking: “Only in this way the welfare and happiness of the people may be secured.” I scrutinize as to how I may bring happiness to the people, no matter whether they are my relatives or residents of the neighborhood of my capital or of distant localities. And I act accordingly. In the same manner, I scrutinize in respect of all classes of people. Moreover, all the religious sects have been honored by me with various kinds of honors. But what I consider my principal duty is meeting the people of different sects personally. This record relating to Dharma has been caused to be written by me twenty-six years after my coronation. 

A solid copper bolt (24 ½” in length and a circumference of 14” at the center and 12” at the ends), was found in the Rampurva Asoka Pillar near Nepal border.
Indus Script hypertext, hieroglyphs on the two-and-a-half feet long Rampurva copper bolt which joinss the bull capital to the pillar:
Related image
On some cast copper coins coming out of mints, in addition to these four hieroglyphs, two additional hieroglyphs are inscribed:
 

All these six hieroglyphs are a continuum of the legacy of Indus writing. The language is Meluhha (mleccha) of Indian sprachbund. The rebus readings of these six hieroglyphs evolved in the context of Bronze Age are as follows, the readings validate the Bronze Age Linguistic Doctrine which should replace the 'Aryan invasion' Linguistic Doctrine which is the ruling paradigm in language studies.

The Asur are found in the districts of Gumla, Lohardaga, Palamau and Latehar of Jharkhand state. They have been iron-smelters. The modern Asur vanavasi are divided into three sub-extended family divisions, namely Bir(Kol) Asur, Birjia Asur and Agaria Asur.
Rebus readings L: to R. are:
1. kōṭai mountain (Tamil) Rebus: kōṭṭam = temple (Tamil) koṭe ‘forging (metal)(Mu.) koḍ ‘workshop’ (G.) खोट khōṭa ] f ‘A mass of metal (unwrought or of old metal melted down); an ingot or wedge’ (Kashmiri) baṭa = rimless pot (Kannada) Rebus:  baṭa = furnace (Santali) 
2. Glyph: dulo ‘hole’ (N.); rebusdul ‘to cast metal in a mould’ (Santali) baṭa = rimless pot (Kannada) Rebus:  baṭa = furnace (Santali) 
3. gaṇḍa ‘four’ (Santali) Rebus: kaṇḍ = fire-altar (Santali); kan = copper (Tamil)
4. Pali. kuṭila— ‘bent’, n. ‘bend’; Prakrit. kuḍila— ‘crooked’ Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin
Thus, the inscription on Rampurva copper bolt describes the metallurgical processes of makiing the bolt:
1. a mass of khōṭa metal melted down in furnace; koṭe ‘forged'
2. the metal cast (dul) in a mould 
3. ingot subjected to fire-altar (kaṇḍ) furnace
4. Bronze (8 parts copper and 2 parts tin) used in casting the alloy, kuṭila
Rimless-pot glyph is ligatured to two glyphs: 1. mountain; 2. circle
baṭa = rimless pot (Kannada) Rebus:  baṭa = furnace (Santali) bhrāṣṭra = furnace (Skt.) 
 
kōṭu summit of a hill, peak, mountain; kōṭai mountain (Tamil) kūṭa = peak 
(Telugu)
kūṭam = workshop (Tamil);
koṭṭamu, koṭṭama. [Tel.] n. A pent roofed chamber or house as distinguished from ‘midde' which is flat-roofed. Pounding in a mortar. A stable for elephants or horses, or cattle  A. i. 43. [ koṭṭāmu ] koṭṭāmu. [Tel.] n. A pent roofed house. [ koṭṭaruvu ] koṭṭaruvu. [Tel.] n. A barn, a grain store.  [koṭāru],  [Tel.] n. A store, a granary. A place to keep grain, salt, &c. కొఠారు [ koṭhāru ] Same as [ koṭhī ] koṭhī. [H.] n. A bank. A mercantile house or firm (Telugu) kṓṣṭha2 n. ʻ pot ʼ Kauś., ʻ granary, storeroom ʼ MBh., ʻ inner apartment ʼ lex., aka -- n. ʻ treasury ʼ, ikā f. ʻ pan ʼ Bhpr. [Cf. *kōttha -- , *kōtthala -- : same as prec.?] Pa. koṭṭha -- n. ʻ monk's cell, storeroom ʼ, aka<-> n. ʻ storeroom ʼ; Pk. koṭṭha -- , kuṭ, koṭṭhaya -- m. ʻ granary, storeroom ʼ; Sv. dāntar -- kuṭha ʻ fire -- place ʼ; Sh. (Lor.) kōti (ṭh?) ʻ wooden vessel for mixing yeast ʼ; K. kōṭha m. ʻ granary ʼ, kuṭhu m. ʻ room ʼ, kuṭhü f. ʻ granary, storehouse ʼ; S. koṭho m. ʻ large room ʼ, ṭhī f. ʻ storeroom ʼ; L. koṭhā m. ʻ hut, room, house ʼ, ṭhī f. ʻ shop, brothel ʼ, awāṇ. koṭhā ʻ house ʼ; P. koṭṭhā, koṭhā m. ʻ house with mud roof and walls, granary ʼ, koṭṭhī, koṭhī f. ʻ big well -- built house, house for married women to prostitute themselves in ʼ; WPah. pāḍ. kuṭhī ʻ house ʼ; Ku. koṭho ʻ large square house ʼ, gng. kōṭhi ʻ room, building ʼ; N. koṭho ʻ chamber ʼ, ṭhi ʻ shop ʼ; A. koṭhā, kõṭhā ʻ room ʼ,kuṭhī ʻ factory ʼ; B. koṭhā ʻ brick -- built house ʼ, kuṭhī ʻ bank, granary ʼ; Or. koṭhā ʻ brick -- built house ʼ,ṭhī ʻ factory, granary ʼ; Bi. koṭhī ʻ granary of straw or brushwood in the open ʼ; Mth. koṭhīʻ grain -- chest ʼ; OAw. koṭha ʻstoreroom ʼ; H. koṭhā m. ʻ granary ʼ, ṭhī f. ʻ granary, large house ʼ, Marw. koṭho m. ʻ room ʼ; G. koṭhɔ m. ʻ jar in which indigo is stored, warehouse ʼ, ṭhī f. ʻ large earthen jar, factory ʼ; M. koṭhā m. ʻ large granary ʼ, ṭhī f. ʻ granary, factory ʼ; Si. koṭa ʻ storehouse ʼ. -- Ext. with -- ḍa -- : K. kūṭhürü f. ʻ small room ʼ; L. koṭhṛī f. ʻ small side room ʼ; P. koṭhṛī f. ʻ room, house ʼ; Ku. koṭheṛī ʻ small room ʼ; H. koṭhrī f. ʻ room, granary ʼ; M. koṭhḍī f. ʻ room ʼ; -- with -- ra -- : A. kuṭharī ʻ chamber ʼ, B. kuṭhrī, Or. koṭhari; -- with -- lla -- : Sh. (Lor.) kotul (ṭh?) ʻ wattle and mud erection for storing grain ʼ; H. koṭhlā m.,  f. ʻ room, granary ʼ; G. koṭhlɔ m. ʻ wooden box ʼ kōṣṭhapāla -- ,  *kōṣṭharūpa -- , *kōṣṭhāṁśa -- , kōṣṭhāgāra -- ; *kajjalakōṣṭha -- , *duvārakōṣṭha-, *dēvakōṣṭha -- , dvārakōṣṭhaka -- .Addenda: kṓṣṭha -- 2: WPah.kṭg.kóṭṭhi f. ʻ house, quarters, temple treasury, name of a partic. temple ʼ, J. koṭhā m. ʻ granary ʼ, koṭhī f. ʻ granary, bungalow ʼ; Garh. koṭhu ʻ house surrounded by a wall ʼ; Md. koḍi ʻ frame ʼ, <-> koři ʻ cage ʼ (Xkōṭṭa -- ). -- with ext.: OP. koṭhārī f. ʻ crucible ʼ, P. kuṭhālī f., H.kuṭhārī f.; -- Md. koṭari ʻ room ʼ.(CDIAL 3546) kōṣṭhapāla m. ʻ storekeeper ʼ W. [kṓṣṭha -- 2, pāla -- ] M. koṭhvaḷā m. (CDIAL 3547) 3550 kōṣṭhāgāra n. ʻ storeroom, store ʼ Mn. [kṓṣṭha -- 2, agāra -- ] Pa. koṭṭhāgāra -- n. ʻ storehouse, granary ʼ; Pk. koṭṭhāgāra -- , koṭṭhāra -- n. ʻ storehouse ʼ; K. kuṭhār m. ʻ wooden granary ʼ, WPah. bhal. kóṭhār m.; A. B. kuṭharī ʻ apartment ʼ, Or. koṭhari; Aw. lakh. koṭhār ʻ zemindar's residence ʼ; H. kuṭhiyār ʻ granary ʼ; G. koṭhār m. ʻ granary, storehouse ʼ, koṭhāriyũ n. ʻ small do. ʼ; M. koṭhār n., koṭhārẽ n. ʻ large granary ʼ, -- rī f. ʻ small one ʼ; Si. koṭāra ʻ granary, store ʼ.kōṣṭhāgārika -- .Addenda:  kōṣṭhāgāra -- : WPah.kṭg. kəṭhāˊr, kc. kuṭhār m. ʻ granary, storeroom ʼ, J. kuṭhār, kṭhār m.; -- Md. kořāru ʻ storehouse ʼ ← Ind. (CDIAL 3550). kōṣṭhāgārika m. ʻ storekeeper ʼ BHSk. [Cf. kōṣṭhā- gārin -- m. ʻ wasp ʼ Suśr.: kōṣṭhāgāra -- ] Pa. koṭṭhāgārika -- m. ʻ storekeeper ʼ; S. koṭhārī m. ʻ one who in a body of faqirs looks after the provision store ʼ; Or. koṭhārī ʻ treasurer ʼ; Bhoj. koṭhārī ʻ storekeeper ʼ, H. kuṭhiyārī m. Addenda: kōṣṭhāgārika -- : G. koṭhārī m. ʻ storekeeper ʼ. kōṣṭhin -- see kuṣṭhin -- Add2. (CDIAL 3552) Ta. koṭṭakaished with sloping roofs, cow-stall; marriage pandal; koṭṭam cattle-shed; koṭṭil cow-stall, shed, hut; (STD)koṭambe feeding place for cattle. Ma. koṭṭil cowhouse, shed, workshop, house. Ka. koṭṭage, koṭige, koṭṭige stall or outhouse (esp. for cattle), barn, room.  Koḍ.  koṭṭï shed.  Tu.koṭṭa hut or dwelling of Koragars; koṭya shed, stall. Te. koṭṭā̆mu stable for cattle or horses; koṭṭāyi thatched shed. Kol. (Kin.)koṛka, (SR.) korkācowshed; (Pat., p. 59) konṭoḍi henhouse. Nk. khoṭa cowshed. Nk. (Ch.)  koṛka id.  Go.(Y.) koṭa, (Ko.) koṭam (pl. koṭak) id. (Voc. 880); (SR.) koṭka shed; (W. G. Mu. Ma.) koṛka, (Ph.) korka, kurka cowshed (Voc. 886); (Mu.) koṭorla, koṭorli shed for goats (Voc. 884). Malt. koṭa hamlet. / Influenced by Skt. goṣṭha-.  (DEDR 2058) கொட்டகை koṭṭakai, n. < gōṣṭhaka. [T. koṭṭamu, K. koṭṭage, Tu. koṭya.] Shed with sloping roofs, cow-stall, marriage-pandal; பந்தல் விசேடம். கொட்டகைத்தூண்போற் காலிலங்க (குற்றா. குற. 84, 4). கொட்டம் koṭṭam, n. House; வீடு. ஒரு கொட்டம்ஒழிச்சுக் குடுத்துருங்கோ (எங்களூர், 47). கோட்டம்² kōṭṭam, n. < kōṣṭha. 1. Room, enclosure; அறை.சுடும ணோங்கிய நெடு நிலைக் கோட்டமும் (மணி. 6, 59). 2. Temple; கோயில். கோழிச் சேவற்கொடியோன் கோட்டமும் (சிலப். 14, 10).
Glyph: dulo ‘hole’ (N.); rebusdul ‘to cast metal in a mould’ (Santali) 
Alternative: kuṭila ‘bent’;  kuṭi— in cmpd. ‘curve’ (Skt.)(CDIAL 3231); rebus: kuṭhi ‘smelter’ (Santali) CDIAL 3231 kuṭilá— ‘bent, crooked’ KātyŚr., aka— Pañcat., n. ‘a partic. plant’ lex. [√kuṭ 1] Pa. kuṭila— ‘bent’, n. ‘bend’; Pk. kuḍila— ‘crooked’ rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230)
खांडा [khāṇḍā] m  a jag, notch, or indentation (as upon the edge of a tool or weapon). khāṇḍā ‘tools, pots and pans, metal-ware’.
Glyph: ‘piece’: kōḍ कोड् m. a kernel (Kashmiri) खोट [khōṭa] A lump or solid bit (as of phlegm, gore, curds, inspissated milk); any concretion or clot. (Marathi) guḍá—1. — In sense ‘fruit, kernel’ cert. ← Drav., cf. Tam. koṭṭai ‘nut, kernel’; A. goṭ ‘a fruit, whole piece’, °ṭā ‘globular, solid’, guṭi ‘small ball, seed, kernel’; B. goṭā ‘seed, bean, whole’; Or. goṭā ‘whole, undivided’, goṭi ‘small ball, cocoon’, goṭāli ‘small round piece of chalk’; Bi. goṭā ‘seed’; Mth. goṭa ‘numerative particle’ (CDIAL 4271) Rebus: koṭe ‘forging (metal)(Mu.) koḍ ‘workshop’ (G.).Sa. gOta? `to scrape, scratch'.Mu. gOta? `to scrape, scratch'.KW gOta?@(M087)  Rebus: खोट khōṭa ] f ‘A mass of metal (unwrought or of old metal melted down); an ingot or wedge’ (Kashmiri) L. khoṭ f. ʻalloy, impurityʼ, °ṭā  ʻalloyedʼ, awāṇ. khoṭā  ʻforgedʼ; P. khoṭ m. ʻbase, alloyʼ M.khoṭā  ʻalloyedʼ, (CDIAL 3931)
Mohenjjo-daro seal. Dotted circles + pellets + fire-altar
gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' PLUS गोटी [ gōṭī ] 'round pebbles, stones' rebus: गोटी [ gōṭī ] 'A lump of silver'. goṭa 'laterite, ferrite ore'.
arye 'lion' (Akkadian) Rebus: āra 'brass'

Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR 5023) Rebus: mū̃h 'ingot' mũhe 'ingot' mũhã̄ = the quantity of iron produced at one time in a native furnace. 
gaṇḍa ‘four’ (Santali) Rebus: kaṇḍ = fire-altar (Santali); kan = copper (Tamil)
sangaḍa ‘lathe, portable furnace’. Rebus: jaṅgaḍ ‘entrusment articles’. jangaḍiyo ‘military guard who accompanies treasure into the treasury’ (G.) sangaḍa ‘association, guild’. sangatarāsu ‘stone cutter’ (Telugu) sãghāiyo a worker on a  lathe (G.)
Vikalpa: meḍhi ‘pillar’. meḍ ‘iron’ : mṛht, meḍ ‘iron’ (Mu.Ho.)
Glyph:kuṭi ‘tree’; kui, kuhi, kua, kuha a tree (Kaus'.); kud.a tree (Pkt.); kuṛā tree; kaek tree, oak (Pas;.)(CDIAL 3228). kuha, kua (Ka.), kudal (Go.)     kudar. (Go.)  kuha_ra, kuha, kuaka = a tree (Skt.lex.) ku, kurun: = stump of a tree (Bond.a); khut. = id. (Or.) kuamu = a tree (Te.lex.) Glyph: tree, rebus: smelting furnace
kuṭhi kuṭa, kuṭi, kuṭha a tree (Kaus’.); kuḍa tree (Pkt.); kuṛā tree; kaṛek tree, oak (Pas;.)(CDIAL 3228). Kuṭha, kuṭa (Ka.), kudal (Go.) kudar. (Go.) kuṭhāra, kuṭha, kuṭaka = a tree (Skt.lex.) kuṭ, kurun: = stump of a tree (Bond.a); khuṭ = id. (Or.) kuṭa, kuṭha = a tree (Ka.lex.) guṇḍra = a stump; khuṇṭut = a stump of a tree left in the ground (Santali.lex.) kuṭamu = a tree (Te.lex.) কুঁদ2 [ kun̐da2 ] n a stock or butt (of a gun); a stump or trunk (of a tree); a log (of wood); a lump (of sugar etc.). (Bengali) Rebus: kũdār ‘turner’ (B.)
কুঁদনকোঁদন [ kun̐dana, kōn̐dana ] n act of turning (a thing) on a lathe; act of carving; act of rushing forward to attack or beat; act of skip ping or frisking; act of bragging. (Bengali)কুঁদ [ kun̐da ] n a (turner's) lathe; a variety of multi-petalled jasmine.কুঁদ1 [ kun̐da1 ] v to turn (a thing) on a lathe, to shape by turning on a lathe; to carve; to rush forward to attack or beat; to skip, to frisk; to brag.
kuṭi, ‘smelting furnace’ (Mundari.lex.).kuṭhi, kuṭi (Or.; Sad. Koṭhi) (1) the smelting furnace of the blacksmith; kuṭire bica duljaḍko talkena, they were feeding the furnace with ore; (2) the name of ēkuṭi has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kut.hi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the center, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, and a larger one on the opposite side through which the molten iron flows out into a cavity.

Vikalpa: M. ḍāhaḷ m. ʻloppings of treesʼ, ḍāhḷā m. ʻleafy branchʼ, °ḷī f. ʻtwigʼ, ḍhāḷā m. ʻsprigʼ, °ḷī f. ʻbranchʼ. (CDIAL 5546).ḍhāako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati) 

 Mirror: http://tinyurl.com/gq2x67q


Two pillars with capitals of Besnagar (ca. 2nd cent.BCE) signify two proclamations of services offered in the city workshop complex: ayo 'fish' rebus:" aya 'metal, iron' PLUS khambhaṛā 'fin' rebus: kammaTa 'mint'; hence, ayo kammaTa 'iron mint' and kāraṇikā 'pericarp of lotus' rebus: karaṇī 'scribe, supercargo'. Supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale. 
Hieroglyphs as hypertexts on the two capitals: Capitl 1: kolom 'three' rebus: kolimi 'smithy' kāraṇikā 'pericarp of lotus' rebus: karaṇī 'scribe, supercargo', kañi-āra 'helmsman'. capital 2: ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā 'fin' rebus: kammaTa 'mint, coiner, coinage' PLUS karA 'crocodile' rebus: khAr 'blacksmith'.
kambha 'pillar' rebus: kammaṭa 'mint, coiner, coinage' as a semantic determinative. Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) kammaTa is also a Pali word with the same meaning, attested by Mahavams'a.

Thus, these two pillars with hieroglyph hypertexts in Indus Script tradition, are two proclamations of services provided by artificers at the workshops of Besnagar. 

Confirmation for this decipherment is provided by Mahaavams'a, XXV, 28, which uses an expression: ayo-kammata-dvAra, translated as "iron studded gate" (of a city), but more accurately should translate as: iron mint gate. 

[quote]Ayas: not in the Dictionary. This word is always used for iron (see loha, below). Mahavamsa, XXV, 28, ayo-kammata-dvara, "iron studded gate " (of a city) ; ib., 30, ayo-gulath, " iron balls "; ib., XXIX, 8, ayo-jala, an iron trellis used in the foundations of a stfipa. Reference might have been made to the iron pillars at Delhi and Dhar, and the use of iron in building at Konarak. [unquote]
(Ananda K. Coomaraswamy,  Indian Architectural terms, in: American Oriental Society, Vol. 48, 1928, pp.250-275).

:


 

A hieroglyph which signifies kambha 'pillar' is kambha 'wing'. Thus, the sculptural frieze with winged tigers can be read rebus: kola 'tiger' rebus: kol 'working in iron' PLUS kambha 'wing' rebus: khambha 'pillar'. kolom 'three' rebus: kolimi 'smithy, forge'. Thus, ironworker smithy pillar


The winged tiger hieroglyphs: khambha 'wing' rebus: kammaTa 'mint, coiner, coinage' kola 'tiger' rebus: kol 'working in iron'. Thus, iron mint. The tw garlands surmounded below the parasol and above the spokedwheel signify: dAma 'garland' rebus: dhAu 'mineral'. Lakshmi flankedby two elephants signifies medhA 'dhanam, wealth.' The word also means 'Sarasvati'. The lotuses are: tAmarasa rebus: tAmra 'copper'.

Hieroglyph: *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. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640)

Rebus: skambhá1 m. ʻ prop, pillar ʼ RV. 2. ʻ *pit ʼ (semant. cf. kūˊpa -- 1). [√skambh]1. Pa. khambha -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ; Pr. iškyöpüšköb ʻ bridge ʼ NTS xv 251; L. (Ju.) khabbā m., mult. khambbā m. ʻ stake forming fulcrum for oar ʼ; P. khambh,khambhākhammhā m. ʻ wooden prop, post ʼ; WPah.bhal. kham m. ʻ a part of the yoke of a plough ʼ, (Joshi) khāmbā m. ʻ beam, pier ʼ; Ku. khāmo ʻ a support ʼ, gng. khām ʻ pillar (of wood or bricks) ʼ; N. khã̄bo ʻ pillar, post ʼ, B. khāmkhāmbā; Or. khamba ʻ post, stake ʼ; Bi. khāmā ʻ post of brick -- crushing machine ʼ, khāmhī ʻ support of betel -- cage roof ʼ, khamhiyā ʻ wooden pillar supporting roof ʼ; Mth. khāmhkhāmhī ʻ pillar, post ʼ, khamhā ʻ rudder -- post ʼ; Bhoj. khambhā ʻ pillar ʼ, khambhiyā ʻ prop ʼ; OAw. khāṁbhe m. pl. ʻ pillars ʼ, lakh. khambhā; H. khām m. ʻ post, pillar, mast ʼ, khambh f. ʻ pillar, pole ʼ; G. khām m. ʻ pillar ʼ, khã̄bhi°bi f. ʻ post ʼ, M. khã̄b m., Ko. khāmbho°bo, Si. kap (< *kab); -- X gambhīra -- , sthāṇú -- , sthūˊṇā -- qq.v.2. K. khambürü f. ʻ hollow left in a heap of grain when some is removed ʼ; Or. khamā ʻ long pit, hole in the earth ʼ, khamiā ʻ small hole ʼ; Marw. khã̄baṛo ʻ hole ʼ; G. khã̄bhũ n. ʻ pit for sweepings and manure ʼ.*skambhaghara -- , *skambhākara -- , *skambhāgāra -- , *skambhadaṇḍa -- ; *dvāraskambha -- .Addenda: skambhá -- 1: Garh. khambu ʻ pillar ʼ.(CDIAL 13639)

Kashmiri glosses:

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

Thus, kharvaṭ may refer to an anvil. Meluhha kāru may refer to a crocodile; this rebus reading of the hieroglyph is.consistent with ayakāra ‘ironsmith’ (Pali) [fish = aya (G.); crocodile = kāru (Telugu)]


click to open a full-size photo (2-7 MB)Medallion. Bharhut. Joined animal parts: fish, fish-fin, elephant trunk & legs, crocodile (All the hieroglyphs signify metalwork catalogues; see discussions in this monograph). karNa 'ear' rebus: karNI 'supercargo' dala 'leaf' rebus: dhALa 'large ingot'. See: http://www.photodharma.net/Guests/Kawasaki-Bharhut/Bharhut.htm
Begram ivory. Artificer emerging out of the mouths of a pair of makara.
Makara with fish-tails and emergence of a smith, ivory-carver, artificer. Plaque from Casket V. Begram. Site 2, Chamber 10. Ivory. Inv. no.: MG 1901. Makara, eagle panel. Begram. Site 2, Chamber 13. Ivory. Inv. nos.: MA 209, 210.Musee Guimet. Th winged bird emerging out of the mouths of makara: eruvai 'eagle' rebus: eruvai 'copper'.

http://bharatkalyan97.blogspot.in/2015/06/itihasa-of-bharatam-janam-makara-manda.html
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Bharhut
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Bharhut
Click the image to open in full size.Sanchi
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Sanchi
Click the image to open in full size.Bharhut
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The artificer emerges out of the snout of the makara.  Fragment in the shape of Asura rising up from the mouth of Makara water monster, carved sandstone, 10th-11th century CE. Quang Nam province, central Vietnam. Decoration exterior of roof corner of Cham temple.

Fragment of a Makara Capital Allahabad Museum, Allahabad Kaushambi, Uttar Pradesh. C.2nd Century BCE Shunga Dimensions: 00105 (1), 00105 (2)
"The animal is damaged, but was originally endowed with only two front legs. The snout is broken; the open mouth, filled with saw teeth, is bordered by ridged lips. The eyes are bulging and have thick curling eyebrows. The finlike ears are adorned with pendants, each consisting of four strands of beads held together by a rectangular plaque. The flat modeling of the curled tail, the top and side surfaces of which meet almost at right angles, are strongly reminiscent of Bharhut sculpture of the 2nd century B.C. The makara probably crowned a votive column (dhvaja stambha) before a temple or site sacred to Pradyumna, one of the Pancavrsnis. An image of the same period has also been discovered at Besnagar, ancient Vidisa."

http://museumsofindia.gov.in/repository/record/alh_ald-AM-SCL-59-3541 This is makara-dhvaja. 

"Pradyumna (Sanskrit: प्रध्युम्न) is the name of a character in the Srimad Bhagavatam. He was the son of Lord Krishna andRukmini. Pradyumna is considered as one of the four vyuha avatar of Vishnu. According to some accounts, Pradyumna was an incarnation of Kama, the god of love. Pradyumna is also a name of the Hindu god Vishnu. He is one in 24 Keshava Namas (names), praised in all pujas. It is also the only name in Sanskrit with all the 3 letters joint (referred as जोडाक्षर)
The Harivamsa describes intricate relationships between Krishna Vasudeva, Sankarsana, Pradyumna and Aniruddha that would later form a Vaishnava concept of primary quadrupled expansion, or avatar."
https://en.wikipedia.org/wiki/Pradyumna

Kalpavrisha, the Wish fulfilling tree, Indian Museum, Kolkata. Sandstone. Besnagar, Madhya Pradesh, ca. 2nd cent. BCE. 172.5 cm. height. "The sculpture, possibly the capial of a pillar, represents a banyan tree, enclosed by a railing at the base and higher up by a bamboo fencin in the shape of a network. The branches of the tree bear coin purse, a conch shell, a lotus and a vase overflowing with coins."

http://museumsofindia.gov.in/repository/record/im_kol-1795-10377
Sculpture representing a tree (Kulpadrum or wishing-tree), from Beshnagar, Bhopal State
Sculpture representing a tree (Kalpadruma or wishing tree) from Besnagar, Bhopal State
Photograph by Beglar, Joseph David, 1875
Plate XXXVI. 10 Medallion Bharhut Stupa
Plate XXXIX. End of coping. Bharhut Stupa

Makara is NOT a myth. It is an abiding reality, as close to truth as any civilizational narrative can get.
Makara and merchant ship. Narrative on Borobodur sculptural frieze.

Merchant vessel. Borobudur.
Makara. Bali. Penataran Sasih temple (dh)makara 'makara composite animal' rebus: dhmakara 'bellows blower', blacksmith. karA 'crocodile' rebus: khAr 'blacksmith' PLUS fish-fin as hieroglyph to signify kammaTa 'mint' PLUS kariba, ibha 'elephant' (legs, trunk of elephant) rebus: karba, ib 'iron'.
Makara jhasa. meDDa 'ram' rebus: medha 'yajna' medhA 'dhanam'. meD 'iron' (Mu.Ho.) med 'copper' (Slavic) The curves tying up the central fish on s'rivatsa glyph or making up the makara composition are cephalopod spirals to denote that the glyphs are maritime/riverine treaures sippi 'mollusc' rebus: sippi 'artificer'. The artificer works with metals: karibha 'trunk of elephant' ibha 'elephant' rebus: karba, ib 'iron' karA 'crocodile' rebus: khAr 'blacksmith' khambhaṛā 'fish fin' rebus: kammaTa 'mint, coiner, coinage'. 
Makara Bharhut, c. 100 BC Indian Museum, Calcutta Something of the origin of the makara, or at least its early composition in India, can be seen here. The water beast, confined beneath a ledge with kneeling rams that represent the realm of land, is pictured here with the snout of a crocodile, the head and forequarters of an elephant, the body of a snake, and the fins and tail of a fish. http://www.art-and-archaeology.com/india/calcutta/cm13.html

The shell component of this motif may be read as: sippi 'mollusc' rebus: sippi 'artificer' Alternative: ha_ngi snail (K.); sa~_khi possessing or made of shells (B.); ho~gi pearl oyster shell, shell of any aquatic mollusc (K.); ha_ngi snail (K.)(CDIAL 12380). gongha = snail’s shell (Santali). Cf. conch (English). Cypraea moneta or a cowrie used as a coin. Rebus: kangar ‘portable furnace’ (K.) A possible depiction of a kaula mangra ‘blacksmith’ working with s’ankha ‘shell’ and and indicaton of jhasa ‘fish’; rebus: jasa ‘prosperity, fame’.

See: http://bharatkalyan97.blogspot.in/2016/08/three-men-on-boat-in-bharhut-300-bce.html 

Ligatured elephant + crocodile glyph on Bharhut sculpture. A joined animal is sangaDa. Rebus: sAngaDa 'double-canoe, seafaring vessel'. Hence, makara as sangaDa is the vAhana of Ganga which was a navigable waterway. Cargo were products out of  khambhaṛā 'fish fin' rebus: kammaTa 'mint, coiner, coinage', made by karA 'crocodile' rebus: khAr 'blacksmith'; karibha 'elephant trunk' ibha 'elephant' rebus: karba, ib 'iron'. Makara is the quintessential proclamation of the life-work of artisans of the Bronze Age revolution. These artisans created the Bharhut, Sanchi stupa and other temples as monuments, celebrating their life-activities signified by these metaphors, these Indus Script hieroglyphs as rebus metonymy (sculptural or orthographic metaphors of a writing system).

The continuum of the Indian writing system is demonstrated by the continued use of glyphs of elephant and sun’s rays on Mauryan and later-day punch-marked coins. The glyphs had significance in the context of the coinmaker, kammaTi (signified by the glyph of bow, kammaTa – as shown on a punchmarked coin of the imperial first series). Elephant glyph also gets ligatured to crocodile glyph to create the unique composite glyph of makara which gets represented on the entry steps of many temples during the historical periods and also in Bharhut sculptures. 
Statuary

Makara Disgorging a Warrior
Architectural decoration. Late XIth early XIIth century Chành Lô style, Thu Thiên group. Sandstone. H. 86.4 cm. Norton Simon Art Foundation, Pasadena, CA, M1977. 20 a. S.


A makara disgorging human figures, frequently a warrior, is a recurring theme in the history of Cham art. An early example cornes from the reredos of the Dông Du'o'ng temple (Boisselier 1963 a : Fig. 56). We find it here some two centuries later, where the makara head accentuates the pointed and spiky features, with a row of sharp teeth continued by a row of similarly shaped foliage decorations.
The makara 's elephantine nose has been made into a towering curved spike that exactly mimics the animal's huge fangs. The drapery of the garment and the pointed headgear of the warrior brandishing a weapon, place the composition in the Thu Thiên group of the Chành Lô style.
"Some Remarkable Cham sculptures in American Museums" Natasha Eilenberg, Robert L. Brown

Article de "La Lettre de la SACHA" n°6, décember 1999, page 10.
http://www.sacha-champa.org/g/en/photo.php?cat=6&subcat=5&topic_id=25
Dau-MakaraMakara. Bronze sculpture. Cham Museum, Da Nang. Metal workers chose hieroglyphs as orthographic signifiers of their life-activities. Hence, a writing system of Indus Script and sculptures of metaphors which are matched by literary texts, e.g. the makara as the vAhana of River Ganga, the waterway for seafaring merchants of the Bronze Age Revolution.
Makara. Da Nang Museum.
Sikhara of Jaina temple, Arana, Rajasthan.
Ganga-Yamuna. National Museum. New Delhi. Gupta period. Sarasvati is shown atop a lotus on Ellora Cave 16 temple of River Goddesses. Ganga has makara vAhana and Yamuna has kUrma vAhana. kamaTha 'turtle' rebus: kammaTa 'mint, coiner, coinage'.
Makara on lentil from Sambor Prei Kuk temple, Kampong Thom City, Cambodia
A warrior in the jaw of makara in Kiradu temple, Rajasthan. Makara is human, karA 'crocodile' signifies khAr 'blacksmith'.
Plaque with a makara, or aquatic monster (EA1971.13) Ashmolean Museum
Stair stringer with makara-headed mythical creature
Stair stringer with makara-headed mythical creature Sikri, Khyber Pakhtunkhwa province. 2nd–3rd century CE Schist H. 7 5/16 x W. 10 1/4 x D. 1 3/4 in. (18.5 x 26 x 4.5 cm). Lahore Museum, G-218
Ganga Ma on her Makara. Charbangla temple (North), Baranagar, Dist. Murshidabad, West Bengal

Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')

“Makaradhvaja is a popular Kupipakwa Rasayana, prepared with the Swarna (gold), 
Parada (mercury) and Gandhaka (sulfur) in a specified ratio. It was first described by Rasendra Chintamani[] by the name ofChandrodaya Rasa, although the word Makaradhvaja was first coined by Rasaratnakara. The term Makaradhvaja is composed of two words, i.e. Makara and Dhvaja. The term Makaradhvaja is also a synonymous of Kamadeva,[] the God of beauty.”  (Khedekar S, Patgiri BJ, Ravishankar B, Prajapati PK., 2011, Standard manufacturing process of Makaradhvaja prepared by Swarna Patra - Varkha and Bhasma. Ayu. 2011 Jan;32(1):109-15.) http://www.ncbi.nlm.nih.gov/pubmed?

Suvannamaccha yields the association with gold, a material for wealth. Suvannamaccha, gold fish, macchanu fish (ayo, fish' rebus: aya 'iron' ayas 'metal') and makara dhvaja are all related to metalwork processes. Makaradhvaja in Rasayana, ancient alchemical traditionsis preparedwith svarna 'gold' parada (darada 'cinnabar', 'mercury') and gandhaka 'sulfur'.

This extraordinary links with metallurgy is what makes makara an extraordinary hieroglyph to signify wealth.

Makara on sculptures is useed on torana, gateways of monuments. On many ancient sculptural friezes, makara yields a creeper as a decorative ornament on the temple gateway.

Some see in a makara, body parts of six or seven animals such as the trunk of the elephant, jaws of thecrocodile, ears of the mouse or ape, extruding teeth of wild swine, the tail plume of the peacock and feet of the lion Clough, B. (1997). Sinhalese English Dictionary. Asian Educational Services. p. 163.

Hieroglyph: makara 'crocodile' rebus: mukura 'flower-bud' Hence the lavi

Makara and Kirtimukha protecting portal of Chennakesava Temple at BelurIndia

Makara Thoranam above the door of the to Garbhagriha of Chennakesava Temple at Belur. Two makaras are shown on either end of the arch.

 Ganga relief depicting the goddess atop her makara mount at Kelaniya Temple Sri Lanka

:Makara, Thap Mam, 13th century, Binh Dinh - Museum of Cham
Makara. Bantey Srei.

Rows of elephants, makara on the base of Chennakesava tempe, Beluru. karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'.
Makara, ca. 14th cent.


Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.
Makara. Khajuraho.

Hieroglyph components of makara, Halebidu: body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears of a pig, and the tail of a peacock. 

The hieroglyphs declare *saṁhati, *saṅghati:These are hieroglyph components of the multiplex cipher read in rebus-metonymy-layers: ibha 'elephant' rebus: ib 'iron'; aya 'fish' rebus: aya 'metal', arye 'lion' rebus: arA 'brass', kuThAru 'monkey' rebus: kuThAru 'armourer', baDhi 'boar' rebus: baRea 'merchant'; maraka 'peacock' rebus: makara loha 'copper alloy calcining metal'. 
makara kundala on Vithoba at Pandharpur Maharashtra

Makara with peacock tail at Lakuddi near Gadag, Karnataka
Makara toranaKhajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.

Makara disgorging a lion-like creature on corner of a lintel on one of the towers) surrounding the central pyramid at BakongRoluosCambodia

Makara at Nanpaya TempleBaganBurma

Makara on lintel from Sambor Prei Kuk temple, Kampong Thom CityCambodia
Makara from Northern Qi Dynasty (CE 550-577), China
Qi Dynasty. Glazed tile. 6th cent.
Glazed tile, Northern Qi dynasty, 6th century

See: https://japanesemythology.wordpress.com/tag/crocodile-wani-sea-deities-ryugu-dragon/ 

The curious crocodile “wani” connection between the Watasumi sea god and Hooderi and Hoori brothers royal myth


Makara at Wat ThatPhunVientianeLaos

Makara from 7th century CE at National Museum Kuala LumpurMalaysia

Makara and Kirtimukha at Hindu temple in KathmanduNepal

Makara with Nagas, Wat SuthatBangkokThailand
Makara Serpent Images at Wat Chedi Luang a Buddhist Temple in Chiang Mai

Makara 12th cent. Sandstone

Cham god Nāga emerging from mouth of Makara at the National Museum of Vietnamese History
Karava Makara flag from Sri Lanka with elephant/fish head and peacock tail. Karava may be cognate kaurava of Mahabharata. Both makara and peacock are metalwork catalogues. karA 'crocodile' rebus: khAr 'blacksmith' moraka 'peacock' morakkaka loha 'a form of copper'.
Varuna on Makara, Halebidu.
Varuna on makara, Lakkundi, Lokki Gundi, Gadag
Ganga on makara.: Ganga on makara. Makara upholds a flaming torch, reinforcing the association with fire-altar, Soma SamsthA.

Asian Art Museum of San Francisco: Ma Ganga on Makara

Begram ivory, 2nd cent. BCE
http://museum.wa.gov.au/museums/perth/afghanistan-hidden-treasures/exhibition-highlights

Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From BesnagarBhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States.

Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river
http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884
Row of Makara in base of Chennakesava Temple at Belur, Karnataka. Note Makara standing vertical at corner.

Trimurti at the centre, Makara on top. Hoysalesvara temple, Halebidu.

Makara is a celebration, .
Makara sculpture, Jain Museum, Khajuraho
Makara sculptures at the Candi Kalasan Temple, Indonesia
(Ảnh: makara Ấn Độ, nguồn: Courtesy: Robert Beer
File:'Head of a Makara', 13th-14th century, Museum of Cham Sculpture.JPG

'Head of a Makara', 13th-14th century, Museum of Cham Sculpture

Makara' is a Sanskrit word which means "sea dragon" or "water-monster" and in Tibetan language it is called the "chu-srin".: A Gilt Bronze Makara Finial   Tibet, 13th/14th Century   The mythical creature with crocodile body elaborately cast with gaping mouth and coiled trunk, its tail rising up in a finely detailed foliate swirl, thickly cast from high copper content bronze with rich gilding, the base plate with two prongs  15½ in. (39.3 cm.) high: A Gilt Bronze Makara Finial Tibet, 13th/14th Century The mythical creature with crocodile body elaborately cast with gaping mouth and coiled trunk, its tail rising up in a finely detailed foliate swirl, thickly cast from high copper content bronze with rich gilding, the base plate with two prongs 15½ in. (39.3 cm.) high https://www.pinterest.com/pin/308215168221862948/
nāga is emerging from the jaws of another creature, makara.Wat Prasat, Thailand
A decorative theme that originated in Java, and from there emanated to other parts of Greater India, is that of the makara sea monster disgorging some other being. In this 10th- or 11th-century Cham sculpture, the makara disgorges a naga.
 Ancient ChampaAncient Champa
Cham sculptures of makara in American museums.
 Makara, mythical creatures, sandstone sculptures, Thap Mam style
Cham sculptures found in Binh Dinh, Vietnam, held in the Musée Guimet in Paris, France.
"The door jambs of the sukhanasa and garbhagriha carry across intricately carved Makara toranas on the exterior. Its has a fine figure of Lakshmi-Narayana in the centre has excellent filigree work. The Makaras at the side bear Varuna and his consort on the back.http://rsubbu-thoughts.blogspot.in/2016_03_01_archive.html
Bharhut coping from stupa, Cleveland Museum, Sunga, India, 2nd Century, B.C., Sculpture and painting- The Cleveland Museum, ACSAA

On this Bharhut frieze, the blacksmigh is shown at work.

kāraṇikā 'pericarp of lotus' rebus: karaṇī 'scribe, supercargo', kañi-āra 'helmsman' The seafaring merchants had copper metal castings of the mint as cargo

mogge 'sprout, bud' Rebus: mū̃h 'ingot' (Santali) From the flower emerges the torana. Many hieroglyphs adorn the torana. One is the hieroglyph: khambhaṛā 'fish fin' rebus: kammaTa 'mint, coiner, coinage'. atop tAmarasa 'lotus' rebus: tAmra 'copper'. The fish-fins are shown in pair: dula 'pair' rebus: dul 'metal casting'. Thus, metal castings emerging out of the work of the khAr 'blacksmith' hieroglyph: karA 'crocodile'.

Hieroglyph 1: mákara1 m. ʻ crocodile ʼ VS.Pa. makara -- m. ʻ sea -- monster ʼ; Pk. magara -- , mayara<-> m. ʻ shark ʼ, Si. muvarāmōrā, Md. miyaru. -- NIA. forms with -- g -- (e.g. H. G. magar m. ʻ crocodile ʼ) or -- ṅg<-> (S. maṅgar -- macho m. ʻ whale ʼ, maṅguro m. ʻ a kind of sea fish ʼ → Bal. māngar ʻ crocodile ʼ) are loans from Pk. or Sk. or directly from non -- Aryan sources from which these came, e.g. Sant. maṅgaṛ ʻ crocodile ʼ.(CDIAL 9692) Hieroglyph 2: makura, makula, mukula 'bud'.mukula n. ʻ bud ʼ Suśr., makula -- 2 n. lex. 2. mukura -- , makura -- 2 n. lex. 3. *bakula -- 2. [Cf. similar interchange of initial in bakula -- 1. -- ← Drav., Tam. mokkuḷ &c., DED 4007; also mudgara -- 2 m. ʻ bud ʼ lex. with same variation of -- k -- ~ -- dg -- as in mukuṣṭha -- ]
1. Pa. makula -- m. ʻ bud ʼ, Pk. maüla -- m.n.; S. mora f. ʻ budding ʼ, morṛo m. ʻ fresh new leaf ʼ.
2. Pk. maüra -- m.n. ʻ bud ʼ; H. maur m. ʻ bud, blossom ʼ; G. mɔhɔr m. ʻ blossom ʼ.
3. MB. baula, B. bol ʻ bud, blossom of fruit tree, knob of a wooden clog ʼ; Or. baüḷa ʻ mango bud ʼ; Aw.lakh. baur ʻ mango blossom ʼ. *mukurayati, mukulayati, mukulāyatē.(CDIAl 10146)mukulayati ʻ *blossoms ʼ. 2. *mukurayati. 3. mukulāyatē. [mukulayati (tr.), °lāyatē (intr.) ʻ closes (like a bud) ʼ Kāv., °litá -- R., °lāyita -- Kāv. ʻ having blossoms ʼ, mukurita -- ʻ id.? ʼ Pāṇ.gaṇa. -- mukula -- ] 1. Pk. maülēi ʻ blossoms ʼ; S. morjaṇu ʻ to sprout ʼ; P. maulnā ʻ to blossom, bud ʼ; Ku. maulṇo ʻ to flourish ʼ, N. maulanu; B. maulā ʻ to blossom ʼ, H. maulnā.
2. H. maurnā ʻ to blossom ʼ, G. mɔrvũ. 3. Pk. maülāaï ʻ blossoms ʼ, N. maulāunu, H. maulānā.(CDIAL 10147)
Darada is a gold producing area

Apparatus for the distillation of cinnabar, Alchimia, 1570
"As the most common source of mercury in nature,cinnabar has been mined for thousands of years, even as far back as the Neolithic Age.During the Roman Empire it was mined both as a pigment,[14][15] and for its mercury content.To produce liquid mercury (quicksilver), crushed cinnabar ore is roasted in rotary furnaces. Pure mercury separates from sulfur in this process and easily evaporates. A condensing column is used to collect the liquid metal, which is most often shipped in iron flasks.https://en.wikipedia.org/wiki/Cinnabar

Martín-Gil, J.; Martín-Gil, F. J.; Delibes-de-Castro, G.; Zapatero-Magdaleno, P.; Sarabia-Herrero, F. J. (1995). "The first known use of vermillion". Experientia51 (8): 759–761.
VitruviusDe architectura VII; IV–V
PlinyNatural History; XXXIII.XXXVI–XLII
Pouring liquid mercury bionerd.jpgMercury,  80Hg Mercury was found in Egyptian tombs that date from 1500 BCE "In November 2014 "large quantities" of mercury were discovered in a chamber 60 feet below the 1800-year-old pyramid nown as the "Temple of the Feathered Serpent,""the third largest pyramid of Teotihuacan," Mexico along with "jade statues, jaguar remains, a box filled with carved shells and rubber balls.". https://www.theguardian.com/world/2015/apr/24/liquid-mercury-mexican-pyramid-teotihuacan
Terracotta toys from Mehergarh (ca. 7th millennium?) Vermilion or powdered cinnabar (sindhur) in the part of her hair. Choker and pendant necklaces are also painted with red pigment  Ornaments are painted golden. Hair is painted black. Sindhu at the hair-parting is painted red, like cinnabar red.
Hematite is a more reddish variety of iron oxide, and is the main ingredient of red ochre. When limonite is roasted, it turns partially to the more reddish hematite and becomes red ochre or burnt sienna.
"Ochre (/ˈkər/ oh-kər; from Greek: ὠχρός, ōkhrós, (pale yellow, pale), also spelled ocher, see spelling differences) is a natural earth pigment containing hydrated iron oxide, which ranges in color from yellow to deep orange or brown. It is also the name of the colors produced by this pigment, especially a light brownish-yellow.A variant of ochre containing a large amount of hematite, or dehydrated iron oxide, has a reddish tint known as "red ochre". https://en.wikipedia.org/wiki/Ochre
Trefoil hieroglyph painted red because it signifies dhāī 'strand' rebus: dhāu 'red ochre, ore of copper': dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV.,ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā] Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic 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; M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) Rebus: dhā̆vaḍ 'smelter'.

Detail of terracotta bangle with red and white trefoil on a green background (H98-3516/8667-01 from Trench 43). Trefoil motifs are carved on the robe of the so-called "priest-king" statuette from Mohenjo-daro and are also known from contemporary sites in western Pakistan, Afghanistan, and southern Central Asia.

The ritual of applying the sindoor as part of a Hindu Indian wedding
"Modern sindoor mainly uses vermilion, an orange-red pigment. Vermilion is the purified and powdered form of cinnabar, which is the chief form in which mercury sulfide naturally occurs."
https://en.wikipedia.org/wiki/Sindoor
Cinnabar from Almaden District, Ciudad Real, Castile-La Mancha, Spain
Cinnabar, mercury ore from Nevada, USA

" The largest natural source of mercury is cinnabar, its only known ore, and the richest deposits are found in Spain and Italy. This reddish mineral containing mercury and sulfur has been used as a pigment since prehistoric times. Cinnabar dating from 500 BC has been identified at a Mayan site in Guatemala, and prehistoric skulls painted with cinnabar have been found in Italy...In the ancient art of alchemy, mercury, sulfur, and salt were the Earth's three principle substances. The Hindu word for alchemy is "Rasasiddhi", meaning "knowledge of mercury." Believing that mercury was at the core of all metals, alchemists supposed that gold, silver, copper, tin, lead and iron were all mixtures of mercury and other substances. While alchemists in different cultures had different beliefs, one of the central themes to European alchemy was the belief that the correct combination of mercury and other ingredients would yield riches of gold...The line between alchemy and medicine was not always clear. In 2nd century China, the study of mercury centered on a search for an elixir of life to confer longevity or immortality. The prominent Chinese alchemist Ko Hung, who lived in the 4th century, believed that man is what he eats, and so by eating gold he could attain perfection. Yet, he reasoned, a true believer was likely to be poor, and so it was necessary to find a substitute for the precious metal. This, in his estimation, could be accomplished by making gold from cinnabar.Ho HungKo Hung, Alchemist
http://www.dartmouth.edu/~toxmetal/mercury/history.html

pārada m. ʻ quicksilver ʼ Suśr., pārata -- m. Kathās., pāra -- 2 m. lex. [← Ir. cf. Pers. paranda EWA ii 257]Pk. pāraya -- m. ʻ quicksilver ʼ, S. pāro m., L.awāṇ. P. pārā m., Ku.gng. pār, N. pāro, A. B. Or. pārā, OAw. pāra m., H. M. pārā m., G. pārɔ m. (CDIAL 8104) "Mercury is a chemical element with symbol Hg and atomic number 80. It is commonly known as quicksilver and was formerly named hydrargyrum (/hˈdrɑːrərəm/). Mercury occurs in deposits throughout the world mostly as cinnabar (mercuric sulfide). heavy, silvery d-block element, mercury is the only metallic element that is liquid at standard conditions for temperature and pressure; the only other element that is liquid under these conditions is bromine, though metals such as caesiumgallium, and rubidium melt just aboveroom temperature.The red pigment vermilion is obtained by grinding natural cinnabar or synthetic mercuric sulfide." https://en.wikipedia.org/wiki/Mercury_(element)

दर° द [p= 470,1]m. pl. N. of a people (living above Peshawar ; also called °द् Ra1jat. Mn. x , 44 MBh. Hariv. 6441 R. iv VarBr2S. Va1yuP. i , 45 , 118 darád f. ʻ bank, precipice, mountain ʼ lex. [√d&rcirclemacr;?] - But perh. of non -- Aryan origin, cf. darád -- ʻ a people adjoining Kashmir ʼ Pat., darada -- MBh., dara -- ʻ name of a mountain ʼ ViṣṇuP., and dardara -- ʻ a mountain in the south ʼ MBh., Pa. daddara -- (poss. ← Drav. EWA ii 21)]
M. daraḍ f. ʻ steep acclivity or high ground, bank ʼ.(CDIAL 6191)

दर° द n. red lead Bhpr. v , 26 , 93 ; vii , 1 , 227

Daradas were a people who lived north to the Kashmir valley. Their kingdom is identified to be the Gilgit region in Kashmir along the river Sindhu or Indus. They are often spoken along with the Kambojas. The Pandava hero Arjuna had visited this country of Daradas during his northern military campaign to collect tribute forYudhishthira's Rajasuya sacrifice. Herodotus and Strabo also connect the Daradas with the gold producing area located in the west of Tibet. There is an evidence that the Daradas, in ancient times, had their colonies located inBaltistan and Leh also.
Darada king is mentioned as a Bahlika ruler in the Bahlika region in the Mahabharata.

Rebus is a mlecchita vikalpa (meluhha cipher) metaphor. The metaphor uses similar sounding words to pictorially convey meaning of metalwork catalogues in Indus Script

Alchemical treatises are full of metaphors. So is Soma SamsthA in vedic tradition an alchemical metaphor. Hence, Soma Skanda as S'iva, the aSTAs'ri yupa (octagonal pillar of light and fire), an object of veneration and puja. See: Kalyanaraman, S., 2004, Indian Alchemy, soma in the Veda, Delhi, Munshiram Manoharlal.

Hanuman is the son of Anjana (antimony). Makara dhvaja is son of Hanuman 
nāˊkra m. ʻ a kind of aquatic animal ʼ VS., nakra -- 1 m. ʻ crocodile, alligator ʼ Mn. [← Drav. and poss. conn. with makara -- J. Bloch BSOS v 739] Pa. nakka -- m. ʻ crocodile ʼ, Pk. ṇakka -- m., Ku. nāko m., H. nākā m., Si. naku. -- H. nākū m. ʻ crocodile ʼ associated by pop. etym. with nāk ʻ nose ʼ < *nakka -- , cf. Ku. nakku ʻ long -- nosed ʼ.(CDIAL 7038) Ka. negar̤, negar̤e alligator. Tu. negaḷů id.; negarů a sea-animal, the vehicle of Varuṇa. Te. (B.) negaḍu a polypus or marine animal supposed to entangle swimmers. / Cf. Skt. nakra- crocodile;nākra- a kind of aquatic animal (DEDR 3732) mákara1 m. ʻ crocodile ʼ VS.Pa. makara -- m. ʻ sea -- monster ʼ; Pk. magara -- , mayara<-> m. ʻ shark ʼ, Si. muvarāmōrā, Md. miyaru. -- NIA. forms with -- g -- (e.g. H. G. magar m. ʻ crocodile ʼ) or -- ṅg<-> (S. maṅgar -- macho m. ʻ whale ʼ, maṅguro m. ʻ a kind of sea fish ʼ → Bal. māngar ʻ crocodile ʼ) are loans from Pk. or Sk. or directly from non -- Aryan sources from which these came, e.g. Sant. maṅgaṛ ʻ crocodile ʼ(CDIAL 9692) نهنګ nahang, s.m. (5th) A crocodile, alligator, or shark. 2. A water-dragon or other such like monster. Pl. نهنګان nahangān.(Pashto) magar 2 मगर् in magar-maʦh मगर्-मछ्&dotbelow; सामुद्रिकमत्स्यविशेषः m. a crocodile (Gr.M.). Cf. makar 1.magar 1 मगर् in magar lagun मगर् लगुन् । अत्यासक्तयानुयोगः m.inf. continually to follow a person, to dog his footsteps, to follow on the skirts (of), beset (e.g. in the hope of obtaining something, or of a thief, or some disease or calamity). -- rōzun -- रोज़ुन् । अनुप्रेरणम् m. inf., id. -- thawun -- थवुन् । अनुनियोजनम् m.inf. to set a person to follow, as ab.(Kashmiri) <moGgo>(P)  {?} ``?''.  Cf. <kumirO>.  *Kh.<moGgor>(P) `crocodile, alligator', Sa.<maGgaR>, H.<mAgArA>, O.<mOgOrO>.  %22401.  #22231.  <karsa mOGgO>(P),,<kaLasa mOGgO>  {N} ``^chameleon [P], ^lizard [M]''.  |<karsa> `??'.  *$H.<gIrAgITA>.  *H.<gIrAgITA>, So.<bomaG>, <gamaG>/-maG>?,<maGgar>(AB),,<moGgor>(P)  {NA} ``^crocodile''.  *@.  ??VAR.  #21081. <maGgar>(AB),,<moGgor>(P)  {NA} ``^crocodile''.  *@.  ??VAR.  #21081.<moGgor>(B),,<mogor>(B)  {N} ``^crocodile''.  See <muGgur>.  *Des.  @B21680.  #23311.muGgur>(H)  {N} ``^crocodile''.  !{Sk.<makara>.  @B21060.  #23961.(Munda etyma)
Dadhivamana temple of Jagannatha, Koilo Garudadhvaja
Garudadhvaja. Jagannatha temple.
NM-ALH-82159 Fragment of a makara capital. The animal is damaged, but was originally endowed with only two front legs. The snout is broken; the open mouth, filled with saw teeth, is bordered by ridged lips. The eyes are bulging and have thick curling eyebrows. The finlike ears are adorned with pendants, each consisting of four strands of beads held together by a rectangular plaque. The flat modeling of the curled tail, the top and side surfaces of which meet almost at right angles, are strongly reminiscent of Bharhut sculpture of the 2nd century B.C. The makara probably crowned a votive column (dhvaja stambha) before a temple or site sacred to Pradyumna, one of the Pancavrsnis. An image of the same period has also been discovered at Besnagar, ancient Vidisa.

"The four hands of the God are damaged so that none of the attributes can be seen. On top, just above the crown, is an image of Yogasana Visnu with the fish and turtle avataras and Maladharadevas on either side. The pilasters flanking the god support niches with images of Brahma and Siva to his right and left respectively; and at their base are female and male attendant figures in front of whom are small seated figures of Buddha and Kalki on a horse. The offset to the right has, from top to bottom, a small figure of Varaha, a makara, a vyala motif, a large figure of Rama holding a bow, and a seated figure of Vamana. Similarly, to the gods' left, we have a mutilated image of Narasimha, and at the base the serpent hooded Balarama leaning on a club in front of whom is a seated image of Parasurama. The central projection of the pancaratha pedestal carries a male and female figure in anjalimudra at the sides.http://nmma.nic.in/nmma/antiquity_search.do?method=explore_antiquity_search&id_link_mat=22&?w=&pager.offset=2300

Mathura. pink sandstone. h. 18.5 in. Lucknow state museum. Frieze fragment with makara carved in shallow relief Hungtingon scan0004425

Architrave fragment with makara, dragon-legged composite figure, and lotus rhizome, from Mathura, Uttar Pradesh; ca. 50-20 BCE. Bluff sandstone; h. 8" x L. 2'11/2" (20 X 66 cm). Govt. Museum, Mathura; M2 Photo: American Institute of Indian Studies.

Anjana
Antimony-4.jpgAntimony
añjana ʻ anointing, ointment ʼ ĀśvŚr. [√añj] P. añjaṇ f. ʻ collyrium ʼ; Si. an̆danā ʻ anointing, painting, putting on (clothes) ʼ.(CDIAL 170) Unguent of tutty is also called añjana  One type is antimony."A lustrous gray metalloid, it is found in nature mainly as the sulfide mineral stibnite (Sb2S3). Antimony compounds have been known since ancient times and were used for cosmetics; metallic antimony was also known, but it was erroneously identified as lead upon its discovery." https://en.wikipedia.org/wiki/Antimony
AnjanaAn idol of Anjani Mata having son Hanuman in her lap in the Anjani Mata temple, Choumu

"Añjanā (Tamil: Anchanai, Malay: Anjani or Anjati, Thai: Sawaha) was the mother of Hanuman, one of the heroes of the Indian epic, the Ramayana. According to one version of the story, Añjanā was an apsara named Puñjikastalā, who was born on earth as monkey princess and married Kesari, a monkey chief. Vayu, god of the wind, carried the divine power ofLord Shiva to Anjana's womb, and thus Hanuman was himself an incarnation of Lord Shiva. In Himachal Pradesh is the Goddess worshiped as family deity by several people.There is one temple dedicated to her at Masrer near Dharamsala District Kangra. https://en.wikipedia.org/wiki/Añjanā
Makara dhvaja, son of Hanuman (Anjaneya) kesari & suvannam,accha, brother of Macchanu

Published on Mar 18, 2016
Makaradhvaja is the famous Ayurvedic medicine made up of Gold Bhasma and Mercury. The particular heating sequence is the most crucial factor in preparation of Makaradhvaja. Rasashastra is the pharmaceutical specialty of Ayurveda that describes the method of pharmaceutical preparation of Makaradhvaja. The category of Makaradhvaja id Kupipakwa Rasayana . Makaradhvaja is prepared by two methods, Antardhum and Bahirdhum. Bahirdhum method is much faster, but the product obtained is sublimed hence does not contain any Gold. Whereas Antardhum method requires 72 hours of heating and product obtained contains high quality medicated gold. This medicine is very potent yet not toxic at therapeutic dose. Dr. Pranit Ambulkar (MD, PhD Ayurveda) gives brief introduction of preparation of Makaradhvaja in this video. https://www.youtube.com/watch?v=_50S-brl9Ic
Makardhvaja Temple at Odadar village nearPorbandarGujarat
"The Jethwa clan of Kshatriyas claim their descent from Makardhvaja. As per folk tales of their clan, Makardhvaja had a son named Mod-dhvaja and he had a son named Jethi-dhvaja.[4] Jethwas claim descant from Jethi-dhvaja and worship Hanuman as their Iṣṭa-devatā.[4] The Jethwa dynasty of Gujarat, who once ruled major part of Kathiawar and later the princely state of Porbandar, therefore, had the image of Hanuman on their Royal flag.[4][5][6]

Temples[edit]

Temples dedicated to Makardhvaja can be found in India, especially in Gujarat, where Jethwas once ruled. Some noted temples in Gujarat are at
  • Odadar village near Porbandar.
  • Hanuman-Dandi at Bet Dwarka, where idols of Makardhvaja and Hanuman are worshiped together.[7]
  • Chinchawan, Tq. Wadwani Wadwani, Dist.Beed (Maharashtra)
  • MP-GWALIOR-KARAHIYA
In Rajasthan, also there is temple known as
  • Balaji Makardhvaja Temple at Beawar, which is dedicated to both father-son duo in form of Balaji Hanuman and Makardhvaja." https://en.wikipedia.org/wiki/Makardhvaja

"Story of Lord Hanuman and Suvannamaccha, the golden mermaid or golden fish. Suvarnamatsya is the equivalent word in Sanskrit. The story of Suvarnamatsya is not found in Valmiki Ramayana. It appears in the Cambodian and Thai versions of Ramayana. Suvarnamatsya was a daughter of Ravana. She was half fish and half human in her body. "
http://www.hindudevotionalblog.com/2014/03/story-suvannamaccha-golden-mermaid.html
"Story of Makaradhvaja, son of Hanuman. According to Hinduism, Makaradhvaja is the son of Lord Hanuman. Makardhvaja makes his first appearance in epic Ramayana. The story of Makardhvaja and Hanuman has several versions...Makaradhvaja claimed that he was the son of Hanuman. Hanuman was amused at this and said that he himself was Hanuman, but he could not be his son, as he was born celibate. A duel between Hanuman and Makaradhvaja took place. Hanuman defeated Makaradhvaja in the duel and proceeded further. Finally, Hanuman killed Ahiravana and rescued Srirama and Lakshmana. 

Later, on the advice of Srirama, Hanuman installed Makaradhvaja, as the King of Patala and all the three returned to Lanka, to continue the war with Ravana." 
"
Makaradhwaja Son of Hanuman

http://www.hindudevotionalblog.com/2013/09/story-makaradhwaja-son-of-hanuman.html
"Macchanu (ThaiมัจฉานุrtgsMatchanu) is son of Hanuman as per that appears in the CambodianThai and other versions of the Ramayana....As per these versions of Ramayana, during one of the battles with Ravana's army, Hanuman encounters one powerful opponent, who looked like vanara from waist-up but had tail of a fish. After a fierce battle, as Hanuman was about to hit the creature with his weapons, a golden star shining in the sky above, reveals by way ofaakashwani that the enemy, whom he is going to harm is his own son born by his union with Suvannamaccha, the mermaid daughter of Ravana. Hanuman, immediately holds his weapons in mid-air and father-son duo recognize each other"
https://en.wikipedia.org/wiki/Macchanu

Boiling gold in gold mercury amalgam (kajjali) to yi9eld swarna sindhur

See also: https://www.youtube.com/watch?v=Pe0AhvZLgLk (1:41:11) Alchemie, Rasa S'Astra.

Mahabharata has a flag bearing Hanuman atop Arjuna's chariot with Krishna as charioteer.  Hanuman is the metaphor which appears in the two Great Epics: Ramayana and Mahabharata.
Sundara KANDa in sculpture. Hanuman finds Sita. Charcoal rubbing from a carved stone relief at Angkor Wat  http://bharatkalyan97.blogspot.in/2016/07/rama-personifiedf-dharma-evidences-for.html



The hieroglyphs or metaphors which adorn the toraṇa and the temple precincts are a declaration of the smithy as temple for dharma-dhamma. The semantics of the temple architecture are a re-affirmation of the message of good work, of virtuous conduct, sanatana dharma-dhamma.

The hieroglyph multiplex of crocodile, elephant, tiger, fish is celebrated as mahAkara, makara and makara toraṇa as a sculptural metaphor is explained in the context of veneration of Ganga as Ma Ganga, mother Ganga. This association of the Gavialis gangeticus – gharial with River Ganga is related to the life-activity of the people of the Gangetic plain as Bharatam Janam, metalcaster folk working with iron. This has been attested archaeologically by the discovery of iron smelters and iron work at Malhar, Raja-nal-ki-tila and Lohardiwa on the Ganga River basin.

mapMap showing locations of the Early Iron Age sites in the Central Ganga Plain, the Eastern Vindhyas, and different regions of India.
 excavationDamaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli.

This correlation explains the veneration of Ma Ganga by Bharatam Janam which finds expression in the association of makara hieroglyph complex with the life-activities in Ganga River basin of the metalcasters.

Hieroglyph: dāmā 'rope, garland' (Hindi) Rebus: dhamma 'virtious conduct, dharma'

Rebus: dhárma m. ʻ what is established, law, duty, right ʼ AV. [dhárman -- n. RV. -- √dhr̥] Pa. dhamma -- m. (rarely n.), Aś.shah. man. dhrama -- , gir. kāl. &c. dhaṁma -- ; NiDoc. dham̄a ʻ employment in the royal administration ʼ; Dhp. dharma -- , dhama -- , Pk. dhamma -- m.; OB. dhāma ʻ religious conduct ʼ; H. kāmdhām ʻ work, business ʼ; OSi. dama ʻ religion ʼ (Si. daham ← Pa.).(CDIAL 6753)

There are two artistic depictions of the rope/garland to signify dharma-dhamma:

1. trefoil
2. garland, rope as on a toraṇa in the Hindu tradition of temple arch or architrave architecture.

kolmo 'three' Rebus: kolimi 'smithy'; kolle 'blacksmith'; kole.l 'smithy, temple' (Kota) Thus, the rope or garland with three strands may connote: dhāma kole.l 'dharma temple'. It is significant that a gloss damha signifies 'fireplace' thus making the reading consistent with the semantics: kole.l 'smithy' (Kota language).

Trefoil inlay decorated on a bull calf. Uruk (W.16017) ca. 3000 BCE. kõdā 'young bull calf' Rebus: kõdā 'turner-joiner' (forge),

damkom = a bull calf (Santali) Rebus: damha = a fireplace; dumhe = to heap, to collect together (Santali)

Trefoil design on the uttarIyam of the priest, AcArya, PotR. This denotes: three strands of rope: dāmā 'rope' rebus: dhāma ʻreligious conduct'.
Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period, dating after 1900 BC. Credit Harappa.com
Stone base for Sivalinga.Tre-foil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35; Parpola, 1994, p. 218.
Two decorated bases and a lingam, Mohenjodaro. 

If one end of a tape or belt is turned over three times and then pasted to the other, a trefoil knot results. (Shaw, George Russell (MCMXXXIII). Knots: Useful & Ornamental, p.11.)

Sculpture slab from the lower monastery at Nutta, Peshawar 


Wavy garland with bearers from Shrine at Miran in China
Bass relief from Musee Guimet, Paris

Amaravati Stupa rail copings with garland motif
"The Avatamsaka Sūtra (Sanskrit: महावैपुल्यबुद्धावतंसकसूत्र >Mahāvaipulya Buddhāvatamsaka Sūtra) is one of the most influential Mahayana sutras of East Asian Buddhism." 
Garland bearing Yaksha. Amaravathi stupa.
garland bearers
fragment of relief with garland, bearers and winged figure Northwest frontier  Kusana
Date: 1st-2nd c. CE, 1 CE - 300 CE Huntington Scan. 0009717
garland upheld by ganas and interspersed with Buddha figures
Country: India
Site Name: Amaravati
Monument: coping fragment or frieze
Subject of Photo: garland upheld by ganas and interspersed with Buddha figures
Locator Info. of Photo: coping fragment or frieze
Photo Orientation: detail of first section from left
Iconography: Buddha, unidentified
Dynasty/Period: Satavahana
Date: ca. late second to third century CE, 150 CE - 300 CE

Material: white marble
Architecture: structural
Current Location: Madras Government Museum, Madras, Tamil Nadu, India

Copyright Holder: Huntington, John C. and Susan L.
Scan Number: 0026936


The sculptural metaphors speak, declare *saṁhati, *saṅghati, through mlecchita vikalpa hieroglyphs of kole.l 'smithy, temple'. 

Just as Indus Script Corpora embody speech, Meluhha speech, the metaphors of ancient temples are a continuum in the mlecchita vikalpa tradition of writing, engraving, carving, sculpting.

The messaging cipher, mlecchita vikalpa, of Meluhha artisan explains the grammar of dharma-dhamma sanatana:  dharmasamkathA  pl. pious conversation; dhamakArya 'any act of duty or religion, good work, virtuous conduct (Samskritam)

Meluhha artisan emerges out of Makara. Ganga fish-eating ghara 'snout of crocodile', aya 'fish'; āhan gar,ayakara 'metalsmith'; ayo meḍh 'goat-fish''iron merchant'. 

Molluscs and Makara hieroglyphs. The iron worker, blacksmith āhan gar, ayakara has created a smithy, a temple: kole.l 'smithy'; kole.l 'temple'.

Makara composition and Makara toraṇa hieroglyph multiplex in the semantics messaging traditions of Indian sprachbund is rebus-metonymy-layered cipher in Meluhha. 

The toraṇa which emerges out of the snout of the makara is thus a chord, a garland which carries the mesage like the waves of an ocean, dama rebus: dhamma 'virtuous conduct'.


"Makara Torana: The ornate Makara Torana (Capricorn Arch or festoon) carved out of a single stone with four opposed fierce makara-heads (crocodile heads) adorns above the entrance of the sanctum. It reminds us the Pallava style Makara torana at the Satrumallesvara rock-cut cave temple at Dalavanur and Draupadi ratha at Mamallapuram. Two opposing capricon heads, (facing north and south) are carved at the center of the door lintel and they appear spitting warriors (in miniature size) holding swords and shields. A male image seated on lotus flower flanked by two chauris is shown within the floral ring located at the center between two makara heads. The parallel pair of opposing makara heads are placed one each in the southern and northern corners of the festoon. The intricately coiled feathers appear spread across the entire door lintel." http://know-your-heritage.blogspot.in/search/label/Architecture


Makara Torana (4 opposed Capricorn Heads)
Makara Torana: Center Figure
Makara Torana: Figure at Side
Makara Torana: Figure enlarged

Torana of Jagannath Temple, Puri  (Photo, 1890)
Makara Angkor Complex, Cambodia.
Makara metaphor is so central to the artists' message that the makara torana (architrave) is an abiding image to support sculptural friezes of many divinities. In this composition, Indra on Airavata elephant is supported by the makara ensemble ligatured with kIrtimukha. So, karA becomes mahA karA, makara in the writing tradition which started from the mlecchita vikalpa cipher of Indus Script Corpora. Out of the snouts of the makara emerge the garlands, an offering of puja to the paramaatman. Kamadeva sports the makara-dhvaja.
Kirtimukha PLUS makara: Lakkundi, Lokki Gundi, Gadag Kashi vishwanatha temple.
Makara on lentil of sambor prei kuk temple, Cambodia

(Makara hình cá sấu, vật cưỡi của thần Varuna, tranh Ấn Độ)

(Ảnh: makara Ấn Độ, nguồn: Robert Beer)
Halebeedu

Ganga on makara. VaruNa on makara.. Varuna on makara, Halebidu. Varuna on makara, Lakkundi, Lokki Gundi, Gadag
Finial, makara, early-md 16th cent., Ayutthaya Period (1350-1767), Sawankhalok, stoneware, brown & white glaze, 67.5x19.5 cm. South Australian Govt. Grant, 1979
Relief depicting a Makara with Nagas, Wat Suthat, Bangkok, Thailand.
Makara carving. Krishna temple. Hampi. Out of this makara snout emerge a composition of molluscs. sanghin 'mollusc, shell' Rebus: pilgrim:  saṅgin ʻ attached to, fond of ʼ MBh. [saṅgá -- ]
Pk. saṁgi -- , saṁgilla -- ʻ attached to ʼ; S. L. P. saṅgī m. ʻ comrade ʼ (P. also ʻ one of a party of pilgrims ʼ), N. saṅi, Or. sāṅga°gī, H. saṅgī m., M. sãgyāsāgyā m. *saṅghati ʻ tells ʼ
WPah.kṭg. (kc.) sɔ́ṅgi m. ʻ friend ʼ, kṭg. sɔ́ṅgəṇ, kc. sɔṅgiṇ f., J. saṅgīsaṅgu m. (prob. ← H. Him.I 212).(CDIAL 13084) 12842 sáṁkhyāti (*saṁkśāti) ʻ reckons ʼ ŚBr. (samakhyata ʻ appeared ʼ RV., sáṁkhyāpayati ʻ causes to be observed ʼ TS.). [Derivation of RV. khyā -- < kśā -- (Indo -- ir., cf. esp. ásaṁkhyāta -- AV. = Av.ahaͅxšta -- ) preserved in MaitrS. and Kāṭh. (EWA i 313 with lit.) is supported by Aś.gir. sachāya = shah. saṁkhaya, the development of  > khy and cch being parallel with that of kṣ > kkh and c̣c̣h (NW.),cch (SW.). -- √khyā] Pa. saṅkhātisaṅkhāyati ʻ reckons, appears ʼ; Aś. shah. saṁkhaya, kāl. saṁkhaye, gir. sachāya (< *saṁkśāya Hultzsch As 26 n. 6) ʻ having regard to ʼ; Pk. saṁkhāi ʻ counts, knows ʼ, absol. saṁkhāya, caus. pp. saṁkhāviya -- , (orig. NW.?) saṁghaïsagghaï ʻ says ʼ (J. Bloch BSL xxxi 62 < IE. *sengwh -- , Gk. o)mfh/ &c.); Kal.rumb. saṅghāˊam ʻ I hear ʼ (→ Kt. seṅā -- ); Or. sāṅgibā ʻ to tell, speak ʼ; M. sã̄gṇẽʻ to declare, bid ʼ, sã̄g m. ʻ order ʼ. -- Pk. sāhēi°haï ʻ says, orders ʼ (Bloch loc. cit. connects with Germ. sagen) < saṁhaï ʻ says ʼ with abnormal sound -- change in a verb of ʻ saying ʼ (see ākhyāti) <saṁghaï?
Pk. saṁhaïsāhaïsāhēisaṁghaïsagghaï ʻ says ʼ, uvasāhaï ʻ tells ʼ, saṁsāhaṇa -- n. ʻ conversation ʼ with Kal. Or. M. rather < *saṁhati, *saṅghati < IE. *senghw -- (Bloch); Pk.āsaṁghā -- f. ʻ wish ʼ formed after Sk. āśaṁsā -- .But saṁhaïsaṁghaïsāhaï < śáṁsati 
RV., saṁsāhaṇa -- < saṁśaṁsati Br., āsaṁghā -- < āśaṁsā -- Pāṇ., with abnormal dev. in verb of ʻ saying ʼ ~ākhyāti, is a simpler hypothesis. J.C.W.).(CDIAL 12842)

The message of the mollusc hieroglyphs is thus, saṁhati -- the sculptures speak as the floral garlands emerge out of the snout of the makara. 

The semantics 'says, speaks' may explain the hieroglyph which is a homonym of this gloss: *saṁhati, *saṅghati. The hieroglyph is sanGaDa 'lathe, portable furnace'.
 Image result for indus hieroglyphs lathe portable furnace
sãghāṛɔ 'lathe' (Gujarati. Desi) m0008 Mohenjo-daro seal. This shows the bottom bowl of the 'standard device' superimposed with dotted circles. Since the top portion of the 'device' is a drill-lathe, these dotted circles are orthographic representations of drilled beads which were the hallmark of lapidaries' work of the civilization. Rebus reading of the kandi 'beads' (Pa.) is: kaND, kandu 'fire altar, smelting furnace of a blacksmith' (Santali.Kashmiri)Glyphs of dotted circles on the bottom portion of the 'standard device': kandi (pl. -l) beads, necklace (Pa.); kanti (pl. -l) bead, (pl.) necklace; kandit. bead (Ga.)(DEDR 1215). Rebus: लोहकारकन्दुः f. a blacksmith's smelting furnace (Grierson Kashmiri)See: http://bharatkalyan97.blogspot.in/2011/09/meluhha-epigraphia-indus-language.html

Photograph of a statue of Ganga in the Jagannatha Temple at Puri, from the Archaeological Survey of India Collections, taken by Poorno Chander Mukherji in the 1890s. The temple was founded in the 12th Century by Anantavarman Chodaganga (r.1077-1147) of the Eastern Ganga dynasty.
Harappa tablet h180 (section). One glyph composition enlarged to show the crocodile ligature close to pudendum muliebre of the female with thighs apart and shown lying upside down.

آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garānآهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing. and Pl.); (W.) Pl. آهن رباوي āhan-rubāwīاوسپنه aos-panaʿh, s.f. (3rd) Iron. Also used as an adjective to qualify another noun, signifying, Iron-like, hard. Pl. يْ eyاوسپنخړيَ aos-panḵẖaṟṟaey, s.m. (1st) The dross of iron left after melting. Pl. يِ ī.

kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ)
The glyphic elements shown on the tablet are: copulation, vagina, crocodile. h180 tablet.

The glyph showing the image of a crocodile issuing forth from a female with thighs drawn apart is one side of a tablet h180. Same text is repeated on both sides.

The glyphic elements shown on the tablet are: copulation, vagina, crocodile. h180 tablet.

Hieroglyphic composition: ‘copulation’: kamḍa, khamḍa 'copulation' (Santali) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) Vikalpa: kaṇḍa ‘stone (ore)’.

Glyph: vagina: kuṭhi ‘vagina’; kuhi ‘pudendum muliebre’ (Mu.) khou m. ‘vulva’ (CDIAL 3947). rebus: kuṭhi ‘smelting furnace’. Rebus: kuhi ‘smelter furnace’ (Mu.)khŏ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947)
The descriptive glyphics indicates that the smelting furnace is for stone (ore). This is distinquished from sand ore. 

Crocodile (copulating with or) issuing forth from the womb: karā 'crocodile' (Telugu) khār 'blacksmith' (Kashmiri)  

kāru a wild crocodile or alligator (Te.) mosale ‘wild crocodile or alligator. S. ghaṛyālu m. ʻ long — snouted porpoise ʼ; N. ghaṛiyāl ʻ crocodile’ (Telugu)ʼ; A. B. ghãṛiyāl ʻ alligator ʼ, Or. Ghaṛiāḷa, H. ghaṛyāl, ghariār m. (CDIAL 4422)  கரவு² karavu
n. < கரா. cf. grāha. Alligator; முதலை. கரவார்தடம் (திவ். திருவாய். 8, 9, 9). 
கரா karā n. prob. grāha. 1. A species of alligator; முதலை. கராவதன் காலினைக்கதுவ (திவ். பெரியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.) 
கராம் karām n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.)
கரவா karavā , n. A sea-fish of vermilion colour, Upeneus cinnabarinus; கடல்மீன்வகை.

mahā kara = मकर [ makara ] m (S) An aquatic monster understood usually of the alligator, crocodile, and shark, but, properly, a fabulous animal. It is the emblem of the god of love. (Marathi) H گهڙيال घड़ियाल ghaṛiyāl [S. घण्टिका+आलः or आलु], s.m. A crocodile; the Gangetic alligator, Lacerta gangetica (cf. magar).H مگر मगर magar [Prk. मकरो; S. मकरः], s.m. An alligator; a crocodile. mahā kara = मकर [ makara ] is a hieroglyph multiplex composed of a number of hieroglyph components:

1. Crocodile snout, ghara Rebus: khār ‘blacksmith’
2. Fish-tail, xolā Rebus: kolle 'blacksmith'
3. Elephant trunk as snout, ibha 'elephant' Rebus: ib 'iron'

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

Gharial (Gavialis gangeticus) is only a fish-eater. Gharial is one of three crocodilians (apart from the mugger crocodile and the saltwater crocodile) native to India and once inhabited all the major Himalayan glacier river systems of the Indian Subcontinent, from the Irrawaddy River in the east to the Sindhu River in the west. "They inhabit foremost flowing rivers with high sand banks that they use for basking and building nests. They usually mate in the cold season. The young hatch before the onset of the monsoon." (Whitaker, R., Members of the Gharial Multi-Task Force, Madras Crocodile Bank (2007). "The Gharial: Going Extinct Again" /Iguana 14 (1): 24–33.)  http://www.ircf.org/downloads/Iguana14_1%20Gharial%20Going%20Extinct%20Again.pdf)
The average body weight of the species is from 159 to 250 kg (350 to 550 lb). Males commonly attain a total length of 3 to 5 m (9.8 to 16 ft), while females are smaller and reach a body length of up to 2.7 to 3.75 m (8.9 to 12.3 ft). http://crocodileworld.blogspot.in/2012_11_01_archive.html

In 2009, gharial occurrences were reported at Sabujdwip and Balagarh of Hooghly district; Nabadwip; Patuli-Agradwip; and Ketugram II block of Burdwan District in Ganga River, West Bengal.http://innovativeindiatours.com/conservation/



Head of Gavial or Gangetic Crocodile (Gavialis Gangeticus). Illustration for Blackie's Modern Cyclopedia (1899).

 Illustration for Blackie's Modern Cyclopedia (1899).
ghariyal-chitwan
Gharial crocodile at Chitwan National Park  Annapurna Conservation Area. Nepal. Stretches to over 900 sq km, 

Begram ivory, 2nd cent. BCE
http://museum.wa.gov.au/museums/perth/afghanistan-hidden-treasures/exhibition-highlights

Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From BesnagarBhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States.

Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river
http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884

Next slide

Ma Ganga, standing on the makara (crocodile/dragon thing) that is her animal vehicle.  The image is at least 8 feet tall, and is located on the facade of cave 21Ellora, Maharashtra.
http://personal.carthage.edu/jlochtefeld/picturepages/ElloraHindu2011/ellora3.html

Ganga on Makara. Kelaniya Temple. Sri Lanka.
Picture
Asian Art Museum of San Francisco: Ma Ganga on Makara

Ganga on Makara.5th cent. CE. Ajanta caves.
Gupta era terracotta of Ganga Devi; found at Ahichchhatra, UP  -  now in the National Museum, New Delhi, India
Gupta era terracotta of Ma Ganga. Ahichchhatra, UP - now in the National Museum, New Delhi, India
Makara. Amaravati.


Hieroglyph components of makara, Halebidu: body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears of a pig, and the tail of a peacock. 

The hieroglyphs declare *saṁhati, *saṅghati:These are hieroglyph components of the multiplex cipher read in rebus-metonymy-layers: ibha 'elephant' rebus: ib 'iron'; aya 'fish' rebus: aya 'metal', arye 'lion' rebus: arA 'brass', kuThAru 'monkey' rebus: kuThAru 'armourer', baDhi 'boar' rebus: baRea 'merchant'; maraka 'peacock' rebus: makara loha 'copper alloy calcining metal'. 

As the Sanchi toraṇa declares in the centre-piece: these belong to the smithy, kole.l, 'temple' of dhoraṇi-vaThAra-dhamma (elephant-gait-spoked-wheel), architrave dharma quarter of the town of Vidisa. 

the goddess Ganga on her makara vahana
Ma Ganga on Makara vahana. Cave 16 (Kailasanatha temple), Ellora. Huntington Scan 0007914

Ganga, right, the deified Ganges River, in terracotta on a door pillar from U.P., India, Pratihara, 10th century CE. Following iconographic prescription, Ganga stands on her mount, the Makara, a stylized mythological crocodile-like aquatic monster (which unfortunately has been damaged in this piece) and (likely) holds a kumbha, a full pot of water, in her hand (which too has been damaged), while an attendant holds a parasol over her. She leans in the tribhanga pose on a dwarf attendent, while a male guard (or consort?) stands nearby. The dimensions of the art-work are: height: 63 cm (25 in), width: 39 cm (15 in), depth: 26 cm (10 in). From the National Museum of India, New Delhi.

Ganga Ma on her Makara. Charbangla temple (North), Baranagar, Dist. Murshidabad, West Bengal
Northern Qi dynasty, ca. 550 CE (Exhibitd at National Gallery of Victoriain Melbourne, Australia)
Makara with elephant trunk (Exhibited in Indian Museum, Kolkata)

 
Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.

Image result for bharhut ancient makara sculpturesImage result for bharhut ancient makara sculpturesImage result for bharhut ancient makara sculpturesMakara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')

The makara sculptures which adorn many temples is a hieroglyph multiplex of elephant, crocodile, fish: ibha 'elephant' rebus: ib 'iron'; mahAkara, karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri); aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda). It is a hieroglyphic celebration of metalwork as the exemplar of creativity which is the quintessence of the temple-smithy: kole.l puccha 'fish tail' Rebus: puja 'worship'. xolA 'tail' Rebus: kole.l 'smithy, temple' kol 'working in iron' kolimi 'smithy, forge'


Mohenjo-daro seal showing ligatured animals + fish hieroglyph

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

ayo 'fish' aya 'metal' PLUS karA 'gharial' khar 'blacksmith'. ayakara 'metalsmith'
m1429 Mohenjo-daro 3 sides of a prism tablet

மகரம்¹ makaramn. < makara. 1. See மகரமீன். மணிமகரம் வாய்போழ்ந்து (சீவக. 170). 2. Crocodile; முதலை. (சங். அக.) 3. One of the nine treasures of Kubēra; குபேரனது நவநிதியி லொன்று. (W.)

m0482A One side of a two-sided tablet  m1429C One side of a prism tablet. ayo ‘fish’ (Mu.); rebus: aya ‘(alloyed) metal’ (G.) kāru  a wild crocodile or alligator (Te.) Rebus:khār  a blacksmith, an iron worker (cf. bandūka-khār) (Kashmiri) 
Combined rebus reading: ayakāra ‘iron-smith’ (Pali
southeast sector

The mollusc design is from the prototype on Susa Ritual Basin (13th cent. BCE)


http://www.louvre.fr/en/oeuvre-notices/ritual-basin-decorated-goatfish-figures


Susa Ritual Basin. Focus on the fish-tail ligatured to a markhor.
 13th cent. BCE.
The Sheorajpur anthropomorph (348 on Plate A) has a 'fish' hieroglyph incised on the chest



Fish hieroglyph incised on the chest of  copper anthropomorph, Sheorajpur, upper Ganges valley,   ca. 2nd millennium BCE,   4 kg; 47.7 X 39 X 2.1 cm. State Museum,   Lucknow (O.37) Typical find of Gangetic Copper Hoards. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus:meḍh ‘helper of merchant’ (Gujarati) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, ayas ‘metal. Thus, together read rebus: ayo meḍh ‘iron stone ore, metal merchant.’http://bharatkalyan97.blogspot.in/2014/02/a-ligatured-metal-artifact-found-in.html


http://bharatkalyan97.blogspot.in/2014/01/crocodiles-help-scholar-link-indus.html


Meluhha 'fish' hieroglyphs



Mohenjo-daro Seals m1118 and Kalibangan 032, glyphs used are: Zebu (bos taurus indicus), fish, four-strokes (allograph: arrow).ayo ‘fish’ (Mu.) + kaṇḍa ‘arrow’ (Skt.) ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas = metal (Skt.) gaṆḌa, ‘four’ (Santali); Rebus: kaṇḍ ‘fire-altar’, ‘furnace’), arrow read rebus in mleccha (Meluhhan) as a reference to a guild of artisans working with ayaskāṇḍa ‘excellent quantity of iron’ (Pāṇini) is consistent with the primacy of economic activities which resulted in the invention of a writing system, now referred to as Indus Writing.

khṭro = entire bull; khṭ= bra_hman.i bull (G.) khuṇṭiyo = an uncastrated bull (Kathiawad. G.lex.) kh_ṭaḍum a bullock (used in Jhālwāḍ)(G.) kuṇṭai = bull (Ta.lex.) cf. kh_dhi hump on the back; khuĩ_dh hump-backed (G.)(CDIAL 3902).  Rebus: kūṭa a house, dwelling (Skt.lex.) khṭ = a community, sect, society, division, clique, schism, stock; khṭren peṛa kanako = they belong to the same stock (Santali)

Allograph: काण्डः kāṇḍḥ ण्डम् ṇḍam The portion of a plant from one knot to another. काण्डात्काण्ड- त्प्ररोहन्ती Mahānār.4.3. A stem, stock, branch; लीलोत्खातमृणालकाण्डकवलच्छेदे U.3.16; Amaru.95; Ms. 1.46,48, Māl.3.34. 
కాండము [ kāṇḍamu ] kānamu. [Skt.] n. Water. నీళ్లు (Telugu) kaṇṭhá -- : (b) ʻ water -- channel ʼ: Paš. kaṭāˊ ʻ irrigation channel ʼ, Shum. xãṭṭä. (CDIAL 14349).

lokhãḍ ‘overflowing pot’ Rebus:  ʻtools, iron, ironwareʼ (Gujarati)
काण्ड an arrow MBh. xiii , 265 Hit. (Monier-Williams, p. 269) Rebus: काण्ड abundance; a multitude , heap , quantity (ifc.) Pa1n2. 4-2 , 51 Ka1s3.
On a Mohenjo-daro seal, ayo 'fish' read rebus ayas 'metal'; ḍangar 'bull' read rebus ḍhangar 'blacksmith'; koṭ 'horn; red rebus: khoṭ 'alloy'; khoṇḍ 'young bull-calf' read rebus khuṇḍ '(metal) turner'. The ayo 'fish' hieroglyph thus adequately categorizes the metalware contents of a pot discovered in Susa.
Kalibangan 37, 34

Two Kalibangan seals show an antelope and fish glyphs as the inscription. Mẽḍha ‘antelope’; rebus: ‘iron’ (Ho.) ayo ‘fish’; rebs: ayo ‘metal’ (G.) [These are examples which clearly demonstrate that Indus script is a glyptic writing system and hence, all glyphs and glyptic elements have to be decoded.] miṇḍālmarkhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) meḍ ‘iron’.

Meluhha 'crocodile' hieroglyph in Ancient Near East and India

A cylinder seal showing hieroglyphs of crocodile, elephant and rhinoceros was found in Tell Asmar (Eshnunna), Iraq. This is an example of Meluhha writing using hieroglyphs to denote the competence of kāru ‘artisan -- kāru 'crocodile' (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) He was also ibbo 'merchant' (Hieroglyph: ibha 'elephant' Rebus: ib 'iron') and maker of metal artifacts: kāṇḍā ‘metalware, tools, pots and pans’ (kāṇḍā mṛga 'rhinoceros' (Tamil).
Glazed steatite . Cylinder seal. 3.4cm high; imported from Indus valley. Rhinoceros, elephant, crocodile (lizard? ).Tell Asmar (Eshnunna), Iraq. IM 14674; Frankfort, 1955, No. 642; Collon, 1987, Fig. 610. ibha‘elephant’ Rebus: ibbo ‘merchant’, ib ‘iron’காண்டாமிருகம் kāṇṭā-mirukam , n. [M. kāṇṭāmṛgam.] Rhinoceros; கல்யானை. Rebus: kāṇḍā ‘metalware, tools, pots and pans’.kāru ‘crocodile’ Rebus:   kāru  ‘artisan’. Alternative: araṇe ‘lizard’ Rebus: airaṇ ‘anvil’.

Crocodile hieroglyph in combination with other animal hieroglphs also appears on a Mohenjo-daro seal m0489 in the context of an erotic Meluhha hieroglyph: a tergo copulation hieroglyph

m0489a,b,c Mohenjo-daro prism tablet

A standing human couple mating (a tergo); one side of a prism tablet from Mohenjo-daro (m489b). Other motifs on the inscribed object are: two goats eating leaves on a platform; a cock or hen (?) and a three-headed animal (perhaps antelope, one-horned bull and a short-horned bull).  The leaf pictorial connotes on the goat composition connotes loa; hence, the reading is of this pictorial component is: lohar kamar = a blacksmith, worker in iron, superior to the ordinary kamar (Santali.)] 
kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.  pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is related to, rebus: pasra = smithy (Santali)
pisera_ a small deer brown above and black below (H.)(CDIAL 8365).
ān:gra = wooden trough or manger sufficient to feed one animal (Mundari). iṭan:kārri = a capacity measure (Ma.) Rebus: ḍhan:gar ‘blacksmith’ (Bi.)
pattar ‘goldsmiths’ (Ta.) patra ‘leaf’ (Skt.) 
r-an:ku, ran:ku = fornication, adultery (Telugu); rebus: ranku ‘tin’ (Santali)
Rebus readings of Meluhha hieroglyphs:
Hieroglhyphs: elephant (ibha), boar/rhinoceros[kāṇḍā mṛga 'rhinoceros' (Tamil)], tiger (kol), tiger face turned (krammara), young bull calf (khōṇḍa) [खोंड m A young bull, a bullcalf. (Marathi)], antelope, ḍangur ʻbullockʼ, melh ‘goat’ (Brahui) 

Rebus mleccha glosses: Ib 'iron' ibbo 'merchant'; kāṇḍā, 'tools, pots and pans, metalware'; kol 'worker in iron, smithy'; krammara, kamar 'smith, artisan', kõdā 'lathe-turner' [B. kõdā ‘to turn in a lathe’; Or. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295)], khũ ‘guild, community’, ḍāṅro ’blacksmith’ (Nepalese) milakkhu ‘copper’ (Pali) [Meluhha!]
 
Iron (ib), carpenter (badhi), smithy (kol ‘pancaloha’), alloy-smith (kol kamar)
tam(b)ra copper, milakkhu copper, bali (iron sand ore), native metal (aduru), ḍhangar ‘smith’.
Smithy with an armourer
http://www.harappa.com/indus/32.html Seal. Mohenjo-daro. Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script symbols. In the centre is a horned crocodile (gharial) surrounded by other animals including a monkey.


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

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

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


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

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

Hieroglyph: Joined animals (tigers): sangaḍi = joined animals (M.) Rebus: sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda)(CDIAL 12845) sang संग् m. a stone  (Kashmiri) sanghāḍo (G.) = cutting stone, gilding; sangatarāśū = stone cutter; sangatarāśi = stone-cutting; sangsāru karan.u = to stone (S.), cankatam = to scrape (Ta.), sankaḍa (Tu.), sankaṭam = to scrape (Skt.) kol 'tiger' Rebus: kol 'working in iron'. Thus, the multi-headed tiger is read rebus: kol sangaḍi 'fortified place for metal (& ore stone) workers'.
Rebus readings of Hieroglyphs on two Meluhha tablets: Crocodile, tiger looking back, spy on tree
h1973B h1974B Harappa Two tablets. One side shows a person seated on a tree branch, a tiger looking up, a crocodile on the top register and other animals in procession in the bottom register. Obverse side (comparable to h1970, h1971 and h1972) shows an elephant, a person strangling two tigers (jackals or foxes) and a six-spoked wheel.
The glyphic which is common to both set 1 (h1970B, h1971B and h1972B) and set 2: (h1973B and h1974B) is: crocodile on the top register. 

karā ‘crocodile’ (Telugu). Rebus: khara ‘blacksmith’ (Kashmiri)

Set 1: crocodile + person with foot on head of animal + spearing + bison + horned (with twig) seated person in penance

h1971B Harappa. Three tablets with identical glyphic compositions on both sides: h1970, h1971 and h1972. Seated figure or deity with reed house or shrine at one side. Left: H95-2524; Right: H95-2487.
Harappa. Planoconvex molded tablet found on Mound ET. A. Reverse. a female deity battling two tigers and standing above an elephant and below a six-spoked wheel; b. Obverse. A person spearing with a barbed spear a buffalo in front of a seated horned deity wearing bangles and with a plumed headdress. The person presses his foot down the buffalo’s head. An alligator with a narrow snout is on the top register. “We have found two other broken tablets at Harappa that appear to have been made from the same mold that was used to create the scene of a deity battling two tigers and standing above an elephant. One was found in a room located on the southern slope of Mount ET in 1996 and another example comes from excavations on Mound F in the 1930s. However, the flat obverse of both of these broken tablets does not show the spearing of a buffalo, rather it depicts the more well-known scene showing a tiger looking back over its shoulder at a person sitting on the branch of a tree. Several other flat or twisted rectangular terracotta tablets found at Harappa combine these two narrative scenes of a figure strangling two tigers on one side of a tablet, and the tiger looking back over its shoulder at a figure in a tree on the other side.” (JM Kenoyer, 1998, Ancient cities of the Indus Valley, Oxford University Press, p. 115.)

Set 2: crocodile + person seated on branch of tree + tiger looking back and up + rhinoceros + tiger in procession. 
The following glyphics of m1431 prism tablet show the association between the tiger + person on tree glyphic set and crocile + 3 animal glyphic set.

Mohenjo-daro m1431 four-sided tablet. Row of animals in file (a one-horned bull, an elephant and a rhinoceros from right); a gharial with a fish held in its jaw above the animals; a bird (?) at right. Pict-116: From R.—a person holding a vessel; a woman with a platter (?); a kneeling person with a staff in his hands facing the woman; a goat with its forelegs on a platform under a tree. [Or, two antelopes flanking a tree on a platform, with one antelope looking backwards?]

One side (m1431B) of a four-sided tablet shows a procession of a tiger, an elephant and a rhinoceros (with fishes (or perhaps, crocodile) on top?).

koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.)कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)] baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali)

ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'.  Alternative: కరటి [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనుగు (Telugu) Rebus: kharādī ‘ turner’ (Gujarati) kāṇḍa  'rhimpceros'   Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.  The text on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog includes the technological competence to work with minerals, metals and alloys and produce tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha alloys'. పంచలోహము pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

m0489A One side of a prism tablet shows: crocodile + fish glyphic on the top register. Glyphs: crocodile + fish Rebus: ayakāra ‘blacksmith’ (Pali)

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals in procession: tiger looking back and up + rhinoceros + tiger.

Reverse side glyphs:

eraka ‘nave of wheel’. Rebus: era ‘copper’. āra 'spokes' Rebus: āra  'brass'.

Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’ (Gujarati).

Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two pouncing tigers (jackals)+ nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’ (Pego.), bhaṭa ‘six’+ dul‘casting (metal)’ + kũdā kol (tiger jumping) or lo ‘fox’ (WPah.) rebus: lōha ʻmetalʼ (Pali) era āra (nave of wheel, six spokes), ibha (elephant). Rebus: era ‘copper’; kũdār dul kol ‘turner, casting, working in iron’;kan ‘brazier, bell-metal worker’; ibbo ‘merchant’.

The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol bhaṭa ‘iron stone (ore) mineral ‘furnace’.

lōpāka m. ʻa kind of jackalʼ Suśr., lōpākikā -- f. lex. 1. H. lowā m. ʻfoxʼ.2.  Ash.  ẓōkižōkī  ʻfoxʼ, Kt. ŕwēki, Bashg. wrikī, Kal.rumb. lawák: < *raupākya -- NTS ii 228; -- Dm. rɔ̈̄pak ← Ir.? lōpāśá m. ʻfox, jackalʼ RV., lōpāśikā -- f. lex. [Cf. lōpāka -- . -- *lōpi -- ] Wg. liwášälaúša ʻfoxʼ, Paš.kch. lowóċ, ar. lṓeč ʻjackalʼ (→ Shum.  lṓeč NTS xiii 269), kuṛ. lwāinč; K. lośulōhlohulôhu ʻporcupine, foxʼ.1. Kho.  lōw  ʻfoxʼ, Sh.gil. lótilde;i f., pales. lṓi f., lṓo m., WPah.bhal. lōī f.,  lo m.2. Pr. ẓūwī  ʻfoxʼ.(CDIAL 11140-2).Rebus:lōhá ʻred, copper -- colouredʼ ŚrS., ʻmade of copperʼ ŚBr., m.n. ʻcopperʼ VS., ʻironʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻmetal, esp. copper or bronzeʼ; Pk. lōha -- m. ʻironʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻsteelʼ; Kho. loh ʻcopperʼ; S. lohu m. ʻironʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho,  ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper lōhá -- : WPah.kṭg. (kc.) lóɔ ʻironʼ, J. lohā m., Garh. loho; Md.  ʻmetalʼ. (CDIAL 11158).

Glyph: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)
Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)

Allograph: ‘notch’: Marathi: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon).
Glyph: ‘full stretch of one’s arms’: kāḍ 2 काड् । पौरुषम् m. a man's length, the stature of a man (as a measure of length) (Rām. 632, zangan kaḍun kāḍ, to stretch oneself the whole length of one's body. So K. 119). Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298). mayponḍi kanḍ whetstone;  (Ga.)(DEDR 4628). (खडा) Pebbles or small stones: also stones broken up (as for a road), metal. खडा [ khaḍā ] m A small stone, a pebble. 2 A nodule (of lime &c.): a lump or bit (as of gum, assafœtida, catechu, sugar-candy): the gem or stone of a ring or trinket: a lump of hardened fæces or scybala: a nodule or lump gen. CDIAL 3018 kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.] Bshk. kōr ʻ large stone ʼ AO xviii 239. கண்டு³ kaṇṭu , n. < gaṇḍa. 1. Clod, lump; கட்டி. (தைலவ. தைல.99.) 2. Wen; கழலைக்கட்டி. 3. Bead or something like a pendant in an ornament for the neck; ஓர் ஆபரணவுரு. புல்லிகைக்கண்ட நாண் ஒன்றிற் கட்டின கண்டு ஒன்றும் (S.I.I. ii, 429). (CDIAL 3023) kāṇḍa cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2 makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Pa. kaṇḍa -- m.n. joint of stalk, lump. काठः A rock, stone. kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.]Bshk. kōr ʻ large stone ʼ AO xviii 239.(CDIAL 3018). অয়সঠন [ aẏaskaṭhina ] as hard as iron; extremely hard (Bengali)

Glyph: ‘one-eyed’: काण a. [कण् निमीलने कर्तरि घञ् Tv.] 1 One-eyed; अक्ष्णा काणः Sk; काणेन चक्षुषा किं वा H. Pr.12; Ms.3.155. -2 Perforated, broken (as a cowrie) <kaNa>(Z)  {ADJ} ``^one-^eyed, ^blind''. Ju<kaNa>(DP),,<kana>(K)  {ADJ} ``^blind, blind in one eye''.   (Munda) Go. (Ma.) kanḍ reppa eyebrow (Voc. 3047(a))(DEDR 5169). Ka. kāṇ (kaṇḍ-) to see; Ko. kaṇ-/ka·ṇ- (kaḍ-) to see; Koḍ. ka·ṇ- (ka·mb-, kaṇḍ-) to see; Ta. kāṇ (kāṇp-, kaṇṭ-) to see; Kol.kanḍt, kanḍakt seen, visible. (DEDR 1443). Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. (DEDR 1159a) Rebus ‘brazier, bell-metal worker’: கன்னான் kaṉṉāṉ , n. < கன்¹. [M. kannān.] Brazier, bell-metal worker, one of the divisions of the Kammāḷa caste; செம்புகொட்டி. (திவா.)  Ta. kaṉ copper work, copper, workmanship;  kaṉṉāṉ brazier. Ma. kannān id.  (DEDR 1402).  கன்¹ kaṉ , n. perh. கன்மம். 1. Workmanship; வேலைப்பாடு. கன்னார் மதில்சூழ் குடந்தை (திவ். திருவாய். 5, 8, 3). 2. Copper work; கன்னார் தொழில். (W.) 3. Copper; செம்பு. (ஈடு, 5, 8, 3.) 4. See கன்னத்தட்டு. (நன். 217, விருத்.) கன்² kaṉ , n. < கல். 1. Stone; கல். (சூடா.) 2. Firmness; உறுதிப்பாடு. (ஈடு, 5, 8, 3.)

kã̄ḍ 2 काँड् m. a section, part in general; a cluster, bundle, multitude (Śiv. 32). kã̄ḍ 1 काँड् । काण्डः m. the stalk or stem of a reed, grass, or the like, straw. In the compound with dan 5 (p. 221a, l. 13) the word is spelt kāḍ.
kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). -- । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist.
kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri) kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus: eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali) 
Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

One side of a triangular terracotta tablet (Md 013); surface find at Mohenjo-daro in 1936. Dept. of Eastern Art, Ashmolean Museum, Oxford. 


Hieroglyph: kamaḍha 'penance' (Prakrit) kamaḍha, kamaṭha, kamaḍhaka, kamaḍhaga, kamaḍhaya = a type of penance (Prakrit)

Rebus: kamaṭamu, kammaṭamu = a portable furnace for melting precious metals; kammaṭīḍu = a goldsmith, a silversmith (Telugu) kãpauṭ  jeweller's crucible made of rags and clay (Bi.); kampaṭṭam coinage, coin, mint (Tamil)
kamaṭhāyo = a learned carpenter or mason, working on scientific principles; kamaṭhāṇa [cf. karma, kām, business + sthāna, thāṇam, a place fr. Skt. sthā to stand] arrangement of one’s business; putting into order or managing one’s business (Gujarati)  

The composition of two hieroglyphs: kāru 'crocodile' (Telugu) + kamaḍha 'a person seated in penance' (Prakrit) denote rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) + kamaṭa 'portable furnace'; kampaṭṭam 'coinage, coin, mint'. Thus, what the tablet conveys is the mint of a blacksmith. A copulating crocodile hieroglyph -- kāru 'crocodile' (Telugu) + kamḍa, khamḍa 'copulation' (Santali) -- conveys the same message: mint of a blacksmith kāru kampaṭṭa 'mint artisan'.


m1429B and two other tablets showing the typical composite hieroglyph of fish + crocodile. Glyphs: crocodile + fish ayakāra ‘blacksmith’ (Pali) kāru a wild crocodile or alligator (Telugu) aya 'fish' (Munda) The method of ligaturing enables creation of compound messages through Indus writing inscriptions. kārua wild crocodile or alligator (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi).

Pali: ayakāra ‘iron-smith’. ] Both ayaskāma and ayaskāra are attested in Panini (Pan. viii.3.46; ii.4.10). WPah. bhal. kamīṇ m.f.  labourer (man or woman) ; MB. kāmiṇā  labourer (CDIAL 2902) N. kāmi  blacksmith (CDIAL 2900). 

Kashmiri glosses:


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

Thus, kharvaṭ may refer to an anvil. Meluhha kāru may refer to a crocodile; this rebus reading of the hieroglyph is.consistent with ayakāra ‘ironsmith’ (Pali) [fish = aya (G.); crocodile = kāru (Telugu)]




Seal impression from Ur showing a squatting female. L. Legrain, 1936, Ur excavations, Vol. 3, Archaic Seal Impressions. [cf. Nausharo seal with two scorpions flanking a similar glyph with legs apart. This glyphic composition depicts a smelting furnace for stone ore as distinguished from a smelting furnace for sand ore. meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.)

byucu बिचु;  वृश्चिकः m. (sg. dat. bicis बिचिस्), a scorpion (Kashmiri), WPah.bhal. biċċū m., cur. biccū, bhi. biċċoū n. ʻ young scorpionʼ (CDIAL 12081). Rebus: bica, bica-diri (Sad. bicā; Or. bicī) stone ore; mee bica, stones containing iron; tambabica, copper-ore stones; samobica, stones containing gold (Mundari.lex.) 

dula 'pair' rebus: dul 'cast (metal)' (Santali). Hence the scorpion pair are shown on either side of the female of the Ur seal impression reported by Legrain. Pair of tigers: kola 'tiger' rebus: kol 'working in iron' (Tamil) The pair of tigers connote dul 'cast (metal)', as on the glyphs of a pair of scorpions.

Hieroglyph: rope, garland, tying: dāˊman1 ʻ rope ʼ RV. 2. *dāmana -- , dāmanī -- f. ʻ long rope to which calves are tethered ʼ Hariv. 3. *dāmara -- . [*dāmara -- is der. fr. n/r n. stem. -- √2]
1. Pa. dāma -- , inst. °mēna n. ʻ rope, fetter, garland ʼ, Pk. dāma -- n.; Wg. dām ʻ rope, thread, bandage ʼ; Tir. dām ʻ rope ʼ; Paš.lauṛ. dām ʻ thick thread ʼ, gul. dūm ʻ net snare ʼ (IIFL iii 3, 54 ← Ind. or Pers.); Shum. dām ʻ rope ʼ; Sh.gil. (Lor.) dōmo ʻ twine, short bit of goat's hair cord ʼ, gur. dōm m. ʻ thread ʼ (→ Ḍ. dōṅ ʻ thread ʼ); K. gu -- dômu m. ʻ cow's tethering rope ʼ; P. dã̄udāvã̄ m. ʻ hobble for a horse ʼ; WPah.bhad. daũ n. ʻ rope to tie cattle ʼ, bhal. daõ m., jaun. dã̄w; A. dāmā ʻ peg to tie a buffalo -- calf to ʼ; B. dāmdāmā ʻ cord ʼ; Or. duã̄ ʻ tether ʼ, dāĩ ʻ long tether to which many beasts are tied ʼ; H. dāmm.f. ʻ rope, string, fetter ʼ, dāmā m. ʻ id., garland ʼ; G. dām n. ʻ tether ʼ, M. dāvẽ n.; Si. dama ʻ chain, rope ʼ, (SigGr) dam ʻ garland ʼ. -- Ext. in Paš.dar. damaṭāˊ°ṭīˊ, nir. weg. damaṭék ʻ rope ʼ, Shum.ḍamaṭik, Woṭ. damṓṛ m., Sv. dåmoṛīˊ; -- with -- ll -- : N. dāmlo ʻ tether for cow ʼ, dã̄walidāũlidāmli ʻ bird -- trap of string ʼ, dã̄waldāmal ʻ coeval ʼ (< ʻ tied together ʼ?); M. dã̄vlī f. ʻ small tie -- rope ʼ.
2. Pk. dāvaṇa -- n., dāmaṇī -- f. ʻ tethering rope ʼ; S. ḍ̠āvaṇuḍ̠āṇu m. ʻ forefeet shackles ʼ, ḍ̠āviṇīḍ̠āṇī f. ʻ guard to support nose -- ring ʼ; L. ḍã̄vaṇ m., ḍã̄vaṇīḍāuṇī (Ju. ḍ̠ -- ) f. ʻ hobble ʼ, dāuṇī f. ʻ strip at foot of bed, triple cord of silk worn by women on head ʼ, awāṇ. dāvuṇ ʻ picket rope ʼ; P. dāuṇdauṇ, ludh. daun f. m. ʻ string for bedstead, hobble for horse ʼ, dāuṇī f. ʻ gold ornament worn on woman's forehead ʼ; Ku. dauṇo m., °ṇī f. ʻ peg for tying cattle to ʼ, gng. dɔ̃ṛ ʻ place for keeping cattle, bedding for cattle ʼ; A. dan ʻ long cord on which a net or screen is stretched, thong ʼ, danā ʻ bridle ʼ; B. dāmni ʻ rope ʼ; Or. daaṇa ʻ string at the fringe of a casting net on which pebbles are strung ʼ, dāuṇi ʻ rope for tying bullocks together when threshing ʼ; H. dāwan m. ʻ girdle ʼ, dāwanī f. ʻ rope ʼ, dã̄wanī f. ʻ a woman's orna<-> ment ʼ; G. dāmaṇ, ḍā° n. ʻ tether, hobble ʼ, dāmṇũ n. ʻ thin rope, string ʼ, dāmṇī f. ʻ rope, woman's head -- ornament ʼ; M. dāvaṇ f. ʻ picket -- rope ʼ. -- Words denoting the act of driving animals to tread out corn are poss. nomina actionis from *dāmayati23. L. ḍãvarāvaṇ, (Ju.) ḍ̠ã̄v° ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves together ʼ, Or. daũ̈rā, daürā ʻ rope ʼ; Bi. daũrī ʻ rope to which threshing bullocks are tied, the act of treading out the grain ʼ, Mth. dã̄mar, daũraṛ ʻ rope to which the bullocks are tied ʼ; H. dã̄wrī f. ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to tread out the corn ʼ. -- X *dhāgga<-> q.v. Brj. dã̄u m. ʻ tying ʼ. 3. *dāmara -- : Brj. dã̄wrī f. ʻ rope ʼ. (CDIAL 6283)
*dāmayati2 ʻ ties with a rope ʼ. [dāˊman -- 1] Bi. dã̄wab ʻ to drive bullocks trading out grain ʼ, H. dāwnādã̄nā; G. dāmvũ ʻ to tie with a cord ʼ. -- Nomina actionis from this verb rather than derived directly from dāˊman -- 1, dāmanī -- (but cf. Bi. daũrī < *dāmara<-> denoting both ʻ rope ʼ and nomen actionis): N. (Tarai) dāuni ʻ threshing ʼ, Bi. daunī ʻ treading out corn ʼ, Mth. dāuni; -- Ku. daĩ f. ʻ driving oxen or buffaloes to tread out grain ʼ, N. dāĩdã̄i, Bi.dawã̄hī, Mth. damāhī; H. dāẽ f. ʻ tying a number of bullocks together for treading corn, the treading out, the unthreshed corn. ʼ -- S. ḍ̠āiṇu ʻ to shackle the forelegs ʼ and P. dāuṇā ʻ to hobble horse oṛ ass ʼ (CDIAL 6285)

Trefoil design and Ajrak printing Khatri traditions of Gujarat
Simplest possible knot shape which yields a trefoil.

Ajrak print from the Khatri community in Kutch, Gujarat, featuring the trefoil motif alongside motifs of flowers and leaves

Ajrak print from the Khatri community in Kutch, Gujarat, featuring the trefoil motif alongside motifs of flowers and leaves
Some of the ingredients craftsmen use in ajrak dyes

Glosses:

triguṇa ʻ threefold ʼ KātyŚr. [tri -- , guṇá -- ] NiDoc. triguna ʻ threefold ʼ, Pk. tiuṇa -- ; S. ṭriṇu m. ʻ having three pieces in a row in a game ʼ, ṭrīṇo ʻ treble ʼ; L. triūṇā ʻ threefold ʼ, awāṇ. trīṇā, P. tiuṇātīṇã̄, G. tamṇũ (< *taṽaṇ -- < *tivuṇ -- ?); M. tivaṇf. ʻ a triple fold (in paper &c.), tripartite leaf ʼ (LM 347 < triparṇa -- with  unexpl.).(CDIAL 6022). 

guṇá m. ʻ single thread or strand of a cord, rope ʼ TS. 2. ʻ species, quality, good quality ʼ Mn. 1. Pa. Pk. guṇa -- m. (Pk. also n.) ʻ cord, string ʼ; Ḍ. guni f. ʻ vein ʼ; Paš. guṇ ʻ bowstring ʼ, Shum. gun -- ḍamaṭík, Gaw. gun, Bshk. guṇ, Sv. gũṛ, Phal. guṇgūṇu; Sh. gil. gūṇi̯ f. ʻ thread ʼ, pales. guṇ ʻ bowstring ʼ, K. gōn m.; S. g̠uṇu m. ʻ one side of a fish's roe ʼ (semant. cf. guru ʻ strand of rope, roe of fish ʼ); A. guṇ ʻ bowstring ʼ, °ṇā ʻ wire, string of musical instrument ʼ; B. gun ʻ tow rope ʼ, guṇā ʻ strandof thread ʼ; Or. guṇa ʻ bowstring ʼ, °ṇā ʻ string of harp &c. ʼ; Bi. gūn, (Gaya) gōn ʻ tow rope ʼ; Mth. gun ʻ bowstring, tow rope ʼ; OAw. guna ʻ bowstring ʼ; H. gun m. ʻ rope ʼ; G. guṇ m. ʻ bowstring, strand ʼ; M. guṇ m. ʻ bowstring ʼ; Si. guṇa ʻ rope, bowstring ʼ, guṇā ʻ the plant Sanseviera zeylanica from which bowstrings are made ʼ. -- WPah. bhal. ḍḷuṇo m. ʻ hemp rope, thread holding beam of balance ʼ < *gruṇa -- ? 2. Pa. Pk. guṇá -- m. ʻ constituent part, quality, good quality ʼ; S. g̠uṇu m. ʻ kindness, skill ʼ; L. g̠uṇ m. ʻ merit ʼ; P. guṇā m. ʻ lot, portion ʼ.(CDIAL 4190) त्रिगुण a. 1 consisting of three threads; व्रताय मौञ्जीं त्रिगुणांबभार याम् Ku.5.1.-2 three-times repeated, thrice, treble, threefold, triple; सप्त व्यतीयुस्त्रिगुणानि तस्य (दिनानि) R.2. 25.-3 containing the three Guṇas सत्त्व, रजस् and तमस्. 

Sindhi dhāmo + guṇa may be cognate with dharma guṇá which means: 'quality of righteous conduct'.

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Bharhut
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Sanchi
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Sanchi
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Sanchi
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Sanchi

JH Lindsay provides a chronological framework for analyzing orthography of Makara: 

“At Amaravati, in South India, about the second century CE, on the great Buddhist stupa there were many carvingsof a marine animal with a recurved upper lip, holding lotus flower in its mouth, the wll-known Indianmakara. The Makara has a long history in Indian Buddhist art, which has been describedby Professor J.Ph. Vogel in Revue des Arts Asiatiques, tome vi,no. iii, pp. 133-147, ‘LeMakara dans la Sculpture de ‘l’Inde'. The earliest known portrayal of the Makara is as a crocodile in the corner of a carved panel over the entrance to the Lomas Rishi cave in Bihar, North India, constructedin the time of Asoka, the third century BCE. The crocodile has a recurved upper lip. At Bharhut, in Central India, at themiddle of the second century BCE, themakara is carved with a scaly tail curled back on itself and with a small fin behind the leg. In the first century CE, it is portrayed at Mathura, in the United Provinces, with a fish tail and a small fin behind the leg. At Amaavati, in South India, in work of the second and third century CE, aremany carvingsof the creature with the body and tail of a fish, but sometimes the head carries a large horn like a ram’s. As Professor Vogel wrote, real animals hardly change down the ages but the imaginary Makara changes continuously under the urge of artistic imagination and from the needto create each time something richer and more artistic. In all these Indian ariationsl, theskin of scales, the head of the crocodile with g\aping mouth well furnished with teeth, the recurved upper lip and the feet of the crocodile are constant….It is at Amaravati, in South India, that there can be found the use of Makara heads as decorations on the throne on which Buddha was seated.It was commonly at the ends of the cross-bar at the back of the throne, and this time the Makara heads point outwards. Sometimes the Makara heads had beside them slender animal figures standing  on their hind legs, calledby Professor Vogel leogryphs or vyAlaka. This combination of makar and leogryph at the side of the Buddha figure persisted for several hundred years in India. In the famous Sarnath Buddha (Gupta work nearly contemporary with the early work at Yun-kang) can be found this combination of makara and leogryph….The combination appearsalso in the Buddhist carvings of  the ttenth century Pala dynasty of Bengal…Makara heads are also to be found in the carvings on the great Buddhist monument at Barabudur, in Java, which date from the ninth century CE. They adorn the ends of the back of the throne on which the Buddha sits exactly as at Amaravati 700 years before…”(pp.135-137)

The portrayal of makara on the throne of the Buddha is to affirm the makara was a hieroglyph representing the people who adored the Buddha.

The pattern of forming a composite animal as a hypertext is a continuum from Indus Script tradition.

This hypertext on Amaravati panel has the following hieroglyphs:

Flanked by two ladies in karaNa poses is a kalas'a (vessel of plenty) above a hypertext of ram's horn. The narrativeshows four men carrying three strands of a rope, which are also hieroglyphs. These hieroglyphs as hypertexts signify:

dhAu 'strand' rebus: dhAu, dhatu 'mineral' tri-dhAtu 'three strands' rebus: tri-dhAtu 'three minerals'
meDDa 'ram' rebus: medha 'yajna' medhA 'dhanam' meD 'iron' med 'copper' (Slavic)

This hypertext of Amaravati sculptural panel shows a makara attached to a leogryph. The rebus renderings are:
kola 'tiger' rebus: kol 'working in iron' PLUS makara 'artificer, double-canoe': karA 'crocodile' rebus: khAr 'blacksmith' karibha 'trunk of elephant' rebus: karba 'iron'. Thus the hypertext signifies artificers,workers in iron and smithy and seafaring merchants..
The hyoertext on this pillar clanked by adorants is composed of two tigers surmounted by a capital, a spoked wheelo. The rebus readings are: kola 'tiger' rebus: kol 'working in iron' dula 'pair' rebus: dul 'metal casting' Ara 'spoke' rebus: arA 'brass' eraka 'nave of wheel' rebus: eraka 'moltencast' arka 'copper'. Thus, the hypertext signifies artisans working in iron and brass.
Dome slab. Srivatsa hypertexts.

Amaravati. Dome slab. With Indus Script hieroglyphs as hypertext. khambhaṛā 'fin' rebus: kammaṭa 'coiner, coinage, mint' tAmarasa 'lotus' rebus: tAmra 'copper'.aya 'fish' rebus: aya 'iron' ayas 'metal' kol 'tiger' rebus: kolhe 'smelter' kolle 'blacksmith'. sippi 'mollusc' rebus: sippi 'artisan, sculptor'. Thus, the hypertext signifies artificers, artisans engaged in metal work of mint, copper.
Bharhut medallion. Shows a field of square mint coins. see jetavana jataka. A vase held in the hands of the central figure signifies a vase of prosperity. The tree on a railing: kuTi 'tree' rebus: kuThi 'smelter'.

Seal with zebu and Indus Script message, unprovenanced, private possession of Shahid A. Khan

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Posted on 30 Oct. 2019
A jar a carrier a warrior and three with mighty zebo bull. Wish I could read the seal I have.....kolom 'three' rebus: kolimi 'smithy, forge'; 
kāmṭhiyɔ kāmaṭhiyo a bowman; an archer (Skt.) (CDIAL 2760) rebus: kammaṭa 'mint, coiner'; bhaṭa 'warrior' rebus: bhaṭā 'furnace'; kaṇḍa kanka 'rim of jar' (Santali): kanda 'pot' rebus: khanda 'equipment' PLUS karṇaka rim of jar'(Skt.)  rebus:  कर्णिक 'helmsman';  कारणी or कारणीक kāraṇī or kāraṇīka a (कारण S) Applied to the prime minister of a state, the supercargo of a ship   కరణము  karaṇamu 'village clerk' కరణికము or కరణీకము karanikamu. Clerkship: the office of a Karanam or clerk.Thus, equipment scribe of smithy, forge (with furnace and mint), helmsman, supercargo. (a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.)

Source: https://www.facebook.com/groups/416065382227600/?epa=SEARCH_BOX

A peculiar seal from Mohenjo-daro, ligatured tiger and 'unicorn'

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No photo description available.
𝐀 𝐩𝐞𝐜𝐮𝐥𝐢𝐚𝐫 𝐬𝐞𝐚𝐥 𝐟𝐫𝐨𝐦 𝐌𝐨𝐡𝐞𝐧𝐣𝐨 𝐃𝐚𝐫𝐨, 𝐚 𝐡𝐲𝐛𝐫𝐢𝐝 𝐨𝐟 𝐓𝐢𝐠𝐞𝐫 𝐚𝐧𝐝 𝐔𝐧𝐢𝐜𝐨𝐫𝐧. 
Source of picture :- The Indus Civilization: An Interdisciplinary Perspective by D. P. Agrawal

The observation by निर्झर मुखोपाध्यायHarappan Archaeology indicates that the field symbols is a combination of tiger's face ligatured to the body of a 'unicorn' PLUS rings on neck.


Decipherment:

Field symbol: khonda 'young bull' rebus: khoD 'alloy metal, wedge'; konda 'furnace'  kodiyum 'rings on neck'  kod 'workshop' PLUS kola 'tiger' rebus; kol 'working in iron' kolle 'blacksmith'

Text message: kanac 'corner' rebus: kancu 'bell-metal' PLUS sal 'splinter' rebus: sal 'workshop' PLUS maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt,med 'iron' . duplicated is read Meluhha hypertext: dula 'pair' rebus: dul 'metal casting'

Sign 342 'rim-of-jar' hieroglyph: .kaṇḍa kanka 'rim of jar' (Santali): kanda 'pot' rebus: khanda 'equipment' PLUS karṇaka rim of jar'(Skt.)  rebus:  कर्णिक 'helmsman';  कारणी or कारणीक kāraṇī or kāraṇīka a (कारण S) Applied to the prime minister of a state, the supercargo of a ship   కరణము  karaṇamu 'village clerk' కరణికము or కరణీకము karanikamu. Clerkship: the office of a Karanam or clerk.Thus, equipment scribe of smithy, forge (with furnace and mint), helmsman, supercargo. (a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.)


Can a computer imitate the brain and gain ātman, 'consciousness'?

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-- ātman, 'consciousness or cetana' -- < च्/एत्ता 'to fix one's mind upon' -- is explained in वाचस्पत्यम्/ शब्दकल्पद्रुमः | 
-- ātman, 'consciousness' is comparable to the solar corona temperature which rises from 10000 on suface to million + degrees in corona

Some explanations provide leads to the design of brain model experiments.
The source of earth's solar power is the Sun. A comparable phenomenon exists in ātman, 'consciousness' as the definition of life.

Is there a neural correlate for ātman, 'consciousness' that is life since the cessation of life or death is defined as 'brain death' ? Death occurs when a living being loses the sense of awareness or when there is cessation of 'consciousness' in the brain.

चैतन्य  n. (fr. च्/एतन) consciousness MBh. xiv , 529 Sus3r. i , 21 , 24. &c;intelligence , sensation , soul , spirit (कपिल 's सांख्य-प्रवचन; सांख्यकारिका)
चित्  " piling up " » अग्नि- , ऊर्ध्व- , and पूर्व-च्/इत्; ( Pa1n2. 3-2 , 92) forming a layer or stratum , piled up VS. i , xii TS. i (cf. कङ्क- , कर्म- , चक्षुश्- , द्रोण- , प्रा*ण-मनश्- , 
रथचक्र- , वाक्- , श्येन- , and श्रोत्र-च्/इत्.);  " knowing " » ऋत-च्/इत्; cl.1. च्/एतति (impf. अचेतत् RV. vii , 95 , 2 ; p. च्/एतत् RV. cl.2. (A1. Pass. 3. sg. चित्/ए , x , 143 , 4 ; p. f. instr. चितन्त्या , i , 129 , 7 ; A1. चितान , ix , 101 , 11 VS. x , 1cl.3. irreg. चिकेतति ( RV. Subj. चिकेतत् RV. Impv. 2. sg. चिकिद्धि RV. p. चिकितान्/अ RV. perf. चिक्/एत RV. &c चिचेत Vop. viii , 37 ; 3. du. चेततुर् AV. iii , 22 , 2 ; A1. and Pass. चिकित्/ए RV. &c ; 3. pl. °त्रे RV. ; for p. चिकित्व्/अस् » s.v. ; A1. Pass. चिचिते Bhat2t2. ii , 29 ; aor. अचेतीत् Vop. viii , 35 ; A1. Pass. /अचेति and च्/एति RV. ; for अचैत् » √2. चि ; fut. 1st च्/एत्ता , i , 22 , 5) to perceive , fix the mind upon , attend to , be attentive , observe , take notice of (acc. or gen.RV. SV. AV. Bhat2t2.  ; to aim at , intend , design (with dat.) RV. i , 131 , 6 ; x , 38 , 3  ; to be anxious about , care for (acc. or gen.) , i , ix f.  ; to resolve , iii , 53 , 24 ; x , 55 , 6  ; to understand , comprehend , know (perf. often in the sense of pr.) RV. AV. vii , 2 , 1 and 5 , 5  ; P. A1. to become perceptible , appear , be regarded as , be known RV. VS. x , xv : Caus. चेत्/अयति , °ते (2. pl. चेत्/अयध्वम् Subj. चेतयत् Impv. 2. du. चेतयेथाम् impf. /अचेतयत् RV. ; 3. pl. चित्/अयन्ते RV. ; p. चित्/अयत् RV. (eleven times) ; चेत्/अयत् , x , 110 , 8 , &c ; A1. चेतयान » s.v.) to cause to attend , make attentive , remind of. i , 131 , 2 and iv , 51 , 3  ; to cause to comprehend , instruct , teach RV.  ; to observe , perceive , be intent upon RV. MBh. xii , 9890 Katha1s. xiii , 10  ; A1. (once P. MBh. xviii , 74) to form an idea in the mind , be conscious of , understand , comprehend , think , reflect upon TS. vi S3Br. ChUp. vii , 5 , 1 MBh. BhP. viii , 1 , 9 Prab.  ; P. to have a right notion of. know MBh. iii , 14877  ; P. " to recover consciousness " , awake Bhat2t2. viii , 123  ;A1. to remember , have consciousness of (acc.) Pa1n2. 3-2 , 112 Ka1s3. Ba1dar. ii , 3 , 18 Sch.  ; to appear , be conspicuous , shine RV. TS. iii : Desid. च्/इकित्सति (fr. √कित् Pa1n2. 3-1 , 5 Dha1tup. xxiii , 24 ; exceptionally A1. MBh. xii , 12544 ; Impv. °त्सतु Subj. °त्सात् aor. 2. sg. अचिकित्सीस् 
AV. ; Pass. p. चिकित्स्यमान Sus3r. Pan5cat. ) to have in view , aim at , be desirous AV. v , 11 , 1 ; ix , 2 , 3  ; to care for , be anxious about , vi , x  ; ( Pa1n2. 3-1 , 5 Siddh. ) to treat medically , cure Ka1tyS3r. xxv MBh. i , xii Sus3r. Pan5cat. Bhartr2.  ; to wish to appear RV. i , 123 , 1: Caus. of Desid. (fut. चिकित्सयिष्यति) to cure Ma1lav. iv , 4÷5 , 6 f. : Intens. चेकिते (fr. √2. चि? , or for °त्ते RV. i , 53 , 3 and 119 , 3 ; ii , 34 , 10 ; p. च्/एकितत् , ix , 111 , 3 ; A1. च्/एकितान RV. eight times) to appear , be conspicuous , shine RV.; thought , intellect , spirit , soul VS. iv , 19 KapS. Bhartr2. BhP. (Monier-Williams)

 चित्   cit चित् f. [चित्-संपदा˚ भावे क्विप्] 1 Thought, preception. -2 Intelligence, intellect, understanding; Bh.2.1;3.1. -3 The heart, mind; मुक्ताफलैश्चिदुल्लासैः Bhāg.9.11.33. -4 The soul, spirit, the animating principle of life. -5 Brahman. -Comp. -आत्मन् m. 1 the thinking principle or faculty. -2 pure intelligence, the Supreme Spirit. -आत्मकम् consciousness. -आभासः the individual soul (जीव) (which still sticks to worldly defilements). -उल्लासः gladdening the heart or spirit. -घनः the Su- preme Spirit or Brahman. -प्रवृत्तिः f. reflection, thinking. -रूप a. 1 consisting of intelligence. -2 wise, intel- ligent, of a liberal mind. -3 amiable, good-hearted. (-पम्) pure intelligence, the Supreme Being. -शक्तिः f. mental power, intellectual capacity. -स्वरूपम् the Supreme Spirit. -ind. 1 A particle added to किम् and its derivatives (such as कद्, कथम्, क्व, कदा, कुत्र, कुतः &c.) to impart to them an indefinite sense; कुत्रचित् some- where; केचित् some &c. -2 The sound चित्.   चेतन   cētana चेतन a. (-नी f.) [चित् -ल्यु] 1 Animate, alive, living, sentient, feeling; चेतनाचेतनेषु Me.5 animate and inanimate. -2 Visible, conspicuous, distinguished. -नः 1 A sentient being, a man. -2 Soul, mind. -3 The supreme soul. -4 An animal in general. -ना 1 Sense, consciousness; चुलुकयति मदीयां चेतनां चञ्चरीकः R. G.; U.3.31; Māl.9.12; R.12.74; चेतनां प्रतिपद्यते regains one's consciousness. -2 Understanding, intelligence; पश्चिमाद्यामिनीयामात्प्रसादमिव चेतना R.17.1; ... शास्ताखानो$ल्प- चेतनः Śiva. B.29.9. -3 Life, vitality, animation; Bg.13.6. -4 Wisdom, reflection. -नम् Appearance. -2 The thinking principle, the mind; अच्युतचेतनः Bhāg.9.15.41.   चेतनावत्   cētanāvat चेतनावत् a. Animate, having consciousness.   चेतस्   cētas चेतस् n. [चित् करणे असुन्] 1 Consciousness, sense. -2 Thinking soul; वरं वरय राजर्षे क्व ते चेतो निरूप्यताम् Rām.7.57.13; reasoning faculty; संप्रमथ्येन्द्रियग्रामं प्रनष्टा सह चेतसा Mb.1.125.11; चेतोभिराकूतिभिरातनोति Bhāg.5.11.4. -3 The mind, heart, soul; चेतः प्रसादयति Bh.2.23; गच्छति पुरः शरीरं धावति पश्चादसंस्तुतं चेतः Ś.1.34. -4 Will. -Comp. -जन्मन्, -भवः, -भूः m. 1 love, passion. -2 the god of love. चेतोजन्मशरप्रसृनमधुभिर्व्यामिश्रतामाश्रयत् N. -विकारः disturbance of the mind, emotion, agita- tion.   चेतोमत्   cētōmat चेतोमत् a. Living, sentient.(Apte)

Some models of brain neuroscience research are suggested in this monograph.
Astrocyte5.jpg
An astrocytic cell from rat brain grown in tissue culture and stained with antibodies to GFAP (red) and vimentin (green). Both proteins are present in large amounts in the intermediate filaments of this cell, so the cell appears yellow. The blue material shows DNA visualized with DAPI stain, and reveals the nuclei of the astrocyte and other cells. Image courtesy of EnCor Biotechnology Inc.
Image result for glial cells einstein
Image result for glial cells einstein
Release by astrocytes of intercellular propagation of calcium element, Ca2+ waves is comparable to the solar winds which explain the differential temperature of solar corona. 
Astrocytes (Astro from Greek astron = star and cyte from Greek "kytos" = cavity but also means cell), also known collectively as astroglia, are characteristic star-shaped glial cells in the brain and spinal cord. The proportion of astrocytes in the brain is not well defined. Depending on the counting technique used, studies have found that the astrocyte proportion varies by region and ranges from 20% to 40% of all glia. They perform many functions, including biochemical support of endothelial cells that form the blood–brain barrier, provision of nutrients to the nervous tissue, maintenance of extracellular ion balance, and a role in the repair and scarring process of the brain and spinal cord following traumatic injuries.
Research since the mid-1990s has shown that astrocytes propagate intercellular Ca2+ waves over long distances in response to stimulation, and, similar to neurons, release transmitters (called gliotransmitters) in a Ca2+-dependent manner.Data suggest that astrocytes also signal to neurons through Ca2+-dependent release of glutamate.[3] Such discoveries have made astrocytes an important area of research within the field of neuroscience.https://en.wikipedia.org/wiki/Astrocyte
 2015 May 20;86(4):883-901. doi: 10.1016/j.neuron.2015.03.035.

A cellular perspective on brain energy metabolism and functional imaging.

Author information

1
Division of Biological and Environmental Sciences and Engineering, King Abdullah University of Science and Technology, Thuwal 23955-6900, Kingdom of Saudi Arabia; Laboratory of Neuroenergetics and Cellular Dynamics, Brain Mind Institute, Ecole Polytechnique Fédérale de Lausanne, Lausanne 1015, Switzerland; Center for Psychiatric Neurosciences, Department of Psychiatry, University of Lausanne, Lausanne 1008, Switzerland. Electronic address: pierre.magistretti@kaust.edu.sa.
2
Laboratory of Neuroenergetics and Cellular Dynamics, Brain Mind Institute, Ecole Polytechnique Fédérale de Lausanne, Lausanne 1015, Switzerland.

Abstract

The energy demands of the brain are high: they account for at least 20% of the body's energy consumption. Evolutionary studies indicate that the emergence of higher cognitive functions in humans is associated with an increased glucose utilization and expression of energy metabolism genes. Functional brain imaging techniques such as fMRI and PET, which are widely used in human neuroscience studies, detect signals that monitor energy delivery and use in register with neuronal activity. Recent technological advances in metabolic studies with cellular resolution have afforded decisive insights into the understanding of the cellular and molecular bases of the coupling between neuronal activity and energy metabolism and point at a key role of neuron-astrocyte metabolic interactions. This article reviews some of the most salient features emerging from recent studies and aims at providing an integration of brain energy metabolism across resolution scales.

The frontal lobe is the part of the brain that controls important cognitive skills in humans, such as emotional expression, problem solving, memory, language, judgment, and sexual behaviors. It is, in essence, the “control panel” of our personality and our ability to communicate. It is also responsible for primary motor function, or our ability to consciously move our muscles, and the two key areas related to speech, including Broca’s area.

Does this frontal lobe function in controlling or regulating 'consciousness'?
Image result for frontal lobe function
Image result for frontal lobe function
vāsana-s or life-impressions are stored in the long-term memory called DNA which transmits information from one generation to the next..DNA contains the information to make proteins, which carry out all the functions and characteristics of living organisms.
Image result for dna function hereditary
Axon. An axon, or nerve fiber, is a long slender projection of a nerve cell, or neuron, that conducts electrical impulses away from the neuron's cell body or soma. Axons are in effect the primary transmission lines of the nervous system, and as bundles they help make up nerves. Mitochondria are known as the powerhouses of the cell. They are organelles that act like a digestive system which takes in nutrients, breaks them down, and creates energy rich molecules for the cell. The biochemical processes of the cell are known as cellular respiration. Ribosomes are a cell structure that makes protein. Protein is needed for many cell functions such as repairing damage or directing chemical processes. Ribosomes can be found floating within the cytoplasm or attached to the endoplasmic reticulum. The omasum is where food particles that are small enough get transferred into the abomasum for enzymatic digestion. In ruminants with a more sophisticated omasum, the large surface area allows it to play a key role in the absorption of water, electrolytes, volatile fatty acids, minerals, and the fermentation of food.
Dendrites are the segments of the neuron that receive stimulation in order for the cell to become active. They conduct electrical messages to the neuron cell body for the cell to function.
The function of the synapse is to transfer electric activity (information) from one cell to another. The transfer can be from nerve to nerve (neuro-neuro), or nerve to muscle (neuro-myo). The region between the pre- and postsynaptic membrane is very narrow, only 30-50 nm.
Deoxyribonucleic acid (DNA) is a nucleic acid that contains the genetic instructions for the development and function of living things. All known cellular life and some viruses contain DNA. The main role of DNA in the cell is the long-term storage of information.
Image result for dna functionPyrimidines have 1 ring containing both carbon and nitrogen in the ring. Cytosine and thymine are both pyrimidines. Their rings are the same but have different functional groups attached. Purines have 2 rings containing carbon and nitrogen. Adenine and Guanine are both purines but have different arrangement of atoms as part of and attached to their rings.
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Omasum Histology (Sheep) - Copyright RVC 2008
Image result for ribosomes functionImage result for mitochondria function
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Adult human brain weighs about 1,300-1,400 g. The adult human brain is about 2% of the total body weight..
A human body has 30 trillions cells of which 10 billion are neurons. These 10 billion absorb 25 percent of body's energy in the form of oxygen and glucose."Almost all of that oxygen is used to oxidize glucose to carbon dioxide and water The heart and kidneys are more metabolically active than the brain, but as the brain is larger, it takes a higher proportion of the body’s energy needs. At rest, it uses approximately 20% to 23% of the body’s total energy requirements, despite accounting for only 2% of the body’s mass.The brain is one of the most metabolically active organs in the body. Together with the heart, liver, and kidneys, it consumes about 60% of the body’s energy requirements.The brain stores little energy as glycogen and relies almost entirely on circulating glucose for fuel. Once inside neurons, glucose is metabolized by mitochondria in a number of steps to produce cellular energy, or adenosine triphosphate.Most of the glucose consumed by the brain is used to maintain synaptic function and resting potential of neurons.1 The energy requirements of different types of neurons varies. Large-projection neurons with relatively long axons are most affected by Alzheimer’s disease and these neurons generally have high energy requirements. Without sufficient energy supply, these neurons cannot function efficiently"
This energy-hungry neuron explains why the subject of ātman, 'consciousness' expressed as an energy form gets discussed with the discussion of the brain.
Brain is like the conductor of a choir. When the conductor stops absorbing energy, the entire choir of all body cells stop absorbing or consuming energy to be  released as body heat which is measured as body temperature.
On models of BRAIN as sparks from cosmic energy sources, oxygen waves and functions of the brain (for 1. sensations; 2. emotions; 3. ātman , 'consciousness' signified by vāsana-s or life-impressions from various unidentified sources)
Cetana 'consciousness' can be modeled as a corona around the Sun with an unexplained temperature gradient between the surface of the sun, photosphere-chromosphere (10,000 degrees Fahrenheit) and the corona (1+ million degrees Fahrenheit). Cetana, 'consciousness' is the region surrounding the body parts which evidence sensation. As life-principle pulsates, this cetana or corona region attains cosmic dimensions of energy, comparable to the solar winds and magnetic waves which operate between the photosphere and the coronal region of the Sun. 
When this activity ceases in the brain, brain death occurs. ātman , 'consciousness' merges with the Supreme consciousness, paramātman, which is conveyed by the metaphor of cosmic dance.
Solar Temperature Gradient Paradox
Rgveda uses the metaphor of त्वष्टृ to explain the processes of creation and phenomena such as the winds called वायु . 

Eugene Parker uses the metaphors of mathematics to explain the physics of wonder suggesting a theory which explains why the surface layer of the Sun is colder than the layer surrounding the corona -- an unusual phenomenon which defies the basic physical law of layers becoming colder as they move away from the core heat of the Sun..

वायु the god of the wind (often associated with इन्द्र in the ऋग्-वेद , as वात [q.v.] with पर्जन्य , but although of equal rank with इन्द्र , not occupying so prominent a position ; in the पुरुषसूक्त he is said to have sprung form the breath of पुरुष , and elsewhere is described as the son-in-law of त्वष्टृ ; be is said to move in a shining car drawn by a pair of red or purple horses or by several teams consisting of ninety-nine or a hundred or even a thousand horses [cf. नि-य्/उत्] ; he is often made to occupy the same chariot with इन्द्र , and in conjunction with him honoured with the first draught of the सोम libation ; he is rarely connected with the मरुत्s , although in i , 134 , 4 , he is said to have begotten them from the rivers of heaven ; he is regent of the नक्षत्र स्वाति and north-west quarter » लोक-पाल) (RV)

Tvaṣṭṛ is a solar deity in the Mahābhārata and the Harivaṃśa. He is mentioned as the son of Kāśyapa and Aditi and is said to have made the three worlds with pieces of the SuryaSaranyu has been described as "the swift-speeding storm cloud"; thus Saranyu is the wife of वायु.

Suryadeva.jpg
Surya with consorts Saranyu and Chhaya (Divinities of Clouds and Dusk)
Saranyu (SaraṇyūSaranya) — also known as SanjanaSangnaSauriRandal and Ravi Randal — is a Hindu goddess (devi) and a daughter of Vishvakarman/Tvastar and Virocanā(daughter of Prahrāda was the wife of Tvastr) (Brahmanda Purana, III.59) Saranyu and her sister Chhaya are the wives of Lord Surya, the Hindu Sun god.

RV 10.17.1 Griffith translation:  TVASTAR prepares the bridal of his Daughter: all the world hears the tidings and assembles. But Yamas' MotherSpouse of great Vivasvan, vanished as she was carried to her dwelling.








अ॒द्भ्यः सम्भू॑तः पृथि॒व्यै रसा॓च्च । वि॒श्वक॑र्मणः॒ सम॑वर्त॒ताधि॑ । तस्य॒ त्वष्टा॑ वि॒दध॑द्रू॒पमे॑ति । तत्पुरु॑षस्य॒ विश्व॒माजा॑न॒मग्रे॓ ॥ Rigveda 10-82



At the level of emotions, cetana is identified with life-principle or ātman in three movements:  universal consciousness, emergence of innate knowledge,self-transformation.

 Consciousness which is omniscient and omnipotent (caitanyam) (is) the Self or true nature of Reality (ātmā)||1||


इहाचेतितस्य कस्यापि सत्त्वाभावाच्चितिक्रिया सर्वसामान्यरूपा इति चेतयत इति चेतनः सर्वज्ञानक्रियास्वतन्त्रस्तस्य भावश्चैतन्यं सर्वज्ञानक्रियासम्बन्धमयं परिपूर्णं स्वातन्त्र्यमुच्यते। तच्च परमशिवस्यैव भगवतोऽस्त्यनाश्रितान्तानां तत्परतन्त्रवृत्तित्वात्। स च यद्यपि नित्यत्वव्यापकत्वामूर्तत्वाद्यनन्तधर्मात्मा तथापि नित्यत्वादीनामन्यत्रापि सम्भाव्यत्वादन्यासम्भविनः स्वातन्त्र्यस्यैवोद्धुरीकारप्रदर्शनमिदम्। इत्यं धर्मान्तरप्रतिक्षेपतश्च चैतन्यमिति भावप्रत्ययेन दर्शितम्। तदेतदात्मा न पुनरन्यः कोऽपि भेदवायभ्युपगतो भिन्नभिन्नस्वभावः। तस्याचैतन्ये जडतयानात्मत्वात्। चिदात्मत्वे भेदानुपपत्तेश्चितो देशकालाकारैश्चिद्व्यतिरेकादचेत्यमानत्वेनासद्भिश्चेत्यमानत्वेन तु चिदात्मभिर्भेदस्याधातुमशक्यत्वाच्चिन्मात्रत्वे त्वात्मनां स्वभावभेदस्याघटनाद्वक्ष्यमाणनीत्याव्यतिरिक्तमलसम्बन्धयोगेनापि भेदस्य अनुपपत्तेः प्राङ्मलस्य सत्त्वेऽपि मुक्तिदशायां तदुपशमनान्नानात्मवादस्य वक्तुमशक्यत्वान्मलसंस्कारसम्भवे वानादिशिवात्कथञ्चिदपकर्षे वा मुक्तिशिवाः संसारिण एव स्युरिति। यथोक्तं चैतन्यमेक एवात्मेति नानात्मवादस्यानुपपत्तिः सूचिता। अथ चात्मा क इति जिज्ञासुनुपदेश्यान्प्रति बोधयितुं न शरीरप्राणबुद्धिशून्यानि लौकिकचार्वकवैदिकयोगाचारमाध्यमिकाद्यभ्युपगतान्यात्मापि तु यथोक्तं चैतन्यमेव। तस्यैव शरीरादिकल्पितप्रमातृपदेऽप्यकल्पिताहंविमर्शमयसत्यप्रमातृत्वेन स्फुरणात्। तदुक्तं श्रीमृत्युजिद्भट्टारके

परमात्मस्वरूपं तु सर्वोपाधिविवर्जितम्।
चैतन्यमात्मनो रूपं सर्वशास्त्रेषु पठ्यते।

इति। श्रीविज्ञानभैरवेऽपि
चिद्धर्मा सर्वदेहेषु विशेषो नास्ति कुत्रचित्।
अतश्च तन्मयं सर्वं भावयन्भवजिज्जनः॥

इति। एतदेव
यतः करणवर्गोऽयं...।
इति कारिकाद्वयेन सङ्गृह्योपदेश्यान्प्रति साभिज्ञानं गुरुणोपदिष्टं श्रीस्पन्दे।
किञ्च यदेतच्चैतन्यमुक्तं स एवात्मा स्वभावो विशेषाचोदनाद्भावाभावरूपस्य विश्वस्य जगतः। नह्यचेत्यमानः कोऽपि कस्यापि कदाचिदपि स्वभावो भवति। चेत्यमानस्तु स्वप्रकाशचिदेकीभूतत्वाच्चैतन्यात्मैव। तदुक्तं श्रीमदुच्छुष्मभैरवे
यावन्न वेदका एते तावद्वेद्याः कथं प्रिये।
वेदकं वेद्यमेकं तु तत्त्वं नास्त्यशुचिस्ततः॥

इति। एतदेव
यस्मात्सर्वमयो जीवः...।
इति कारिकाद्वयेन सङ्गृहीतम्।
यतः चैतन्यं विश्वस्य स्वभावस्तत एव तत्साधनाय प्रमाणादि वराकमनुपयुक्तं तस्यापि स्वप्रकाशचैतन्याधीनसिद्धिकत्वाच्चैतन्यस्य च प्रोक्तयुक्त्या केनाप्यावरीतुमशक्यत्वात्सदा प्रकाशमानत्वात्। यदुक्तं श्रीत्रिकहृदये
स्वपदा स्वशिरश्छायां यद्वल्लङ्घितुमीहते।
पादोद्देशे शिरो न स्यात्तथेयं वैन्दवी कला॥

इति। यो लङ्घितुमीहते तस्य यथा पादोद्देशे शिरो न स्यात्तथेयमित्यत्र सम्बन्धः। अनेनैवाशयेन स्पन्दे
यत्र स्थितम्...।
इत्याद्युपक्रम्य
...तदस्ति परमार्थतः॥
इत्यन्तेन महता ग्रन्थेन शङ्करात्मकस्पन्दतत्त्वरूपं चैतन्यं सर्वदा स्वप्रकाशं प्रमार्थसदस्तीति प्रमाणीकृतम्॥१॥
Here (iha), the activity (kriyā) of Consciousness (citi) is common to all --i.e. universal-- (sarvasāmānya-rūpā iti) due to nonexistence (sattva-abhāvāt) of something (kasyāpi) unperceived --i.e. of something out of the range of Consciousness-- (acetitasya). A cetana (cetanaḥ) is a being who is conscious and able to form an idea in his mind (cetayate iti)(and) who is endowed with Absolute Freedom (svatantraḥ) regarding all (sarva) knowledge (jñāna) (and) activity (kriyā). "Caitanya" (caitanyam) is the state or condition (bhāvaḥ) of that (conscious being or cetana) (tasya)(The word Caitanya) contains (mayam) (an affix that connotes) relationship (sambandha)1 (Therefore, Caitanya) is said (ucyate) (to be) complete and perfect (paripūrṇam) Freedom (in respect of all knowledge and activity) (svātantryam)|
And (ca) that (Freedom) (tad) is --i.e. belongs to-- (asti) only (eva) of the Lord (bhagavataḥ) Paramaśiva --i.e. the Supreme Śiva-- (paramaśivasya)(The other beings, from Sakala-s or limited individuals) up to Anāśritaśiva --a phase between the Śakti and Sadāśiva tattva(s)-- (anāśritaśiva-antānām) (do not have that Freedom) since (their) existence (vṛttitvāt) is dependent (paratantra) on Him (tad)|
Although (ca yadi api) He --i.e. the Lord-- (saḥ) has (ātmā) infinite (ananta) attributes (dharma) (such as) eternity (nityatva), all-pervasiveness (vyāpakatva), formlessness (amūrtatva), etc. (ādi), yet (tathā api) because there is the possibility (sambhāvyatvāt) that eternity (nityatva), etc. (adīnām) (occur) even (api) elsewhere (anyatra)(here it is) only (eva) being shown (pradarśanam idam) the predominance (uddhurīkāra) of Svātantrya or Absolute Freedom (svātantryasya) (as this Svātantrya) is not possible (asambhavinaḥ) in (any) other (being) (anya) (except the Lord Himself)|
Thus (ittham... ca)(His main dharma or attribute) has been indicated (darśitam) by means (pratyayena) of the neuter noun (bhāva) "Caitanya" (caitanyam iti) by excluding (pratikṣepataḥ) (all) other (antara) attributes (dharma)|
For that reason (tad), this (Caitanya) (etad) (is) the Self (ātmā) (and) never (na punar) any (kaḥ api) other thing (anyaḥ) of varied (bhinna-bhinna) nature (sva-bhāvaḥ) as assumed (abhyupagataḥ) by those who follow the doctrine (vādi) of difference (among Self and selves, and among the selves themselves) (bheda)|
(On one hand,) if there would be unconsciousness (acaitanye) in that (Ātmā or Self) (tasya)(He would be) inert matter (jaḍatayā) since He would be not Self (anātmatvāt)(On the other hand,) if (Ātmā) is considered to be essentially (ātmatve) Consciousness (cit)(there would be) insufficiency of means (anupapatteḥ) for applying (the aforesaid doctrine of) difference (bheda). It is not possible (aśakyatvāt) to establish or apply (adhātum) (the doctrine of) difference (bhedasya) to Cit or Consciousness (citaḥ) through space (deśa), time (kāla) (or) form --ākāra-- (ākāraiḥ)(because if) they are perceived --i.e. if space, time and form are inside the range of Consciousness-- (cetyamānatvena)(then) they are essentially (ātmabhiḥ) Cit or Consciousness (cit), but (tu) (if) they are not perceived --i.e. they are not inside the range of Consciousness-- (acetyamānatvena), being devoid (vyatirekāt) of Cit (cit), they would be unreal (asadbhiḥ). Then (tu), difference (bhedasya) in the natures (sva-bhāva) of the beings (ātmanām) cannot be established (aghaṭanāt). Even (api) through (yogena) the contact (sambandha) with mala or impurity (appearing in the form of Āṇava, Kārma and Māyīya2 (mala)(there is) insufficiency of means (anupapatteḥ) (to establish the doctrine of) difference (bhedasya) (since that mala) is not (something existing) separate (avyatirikta) (from Consciousness). This will be explained later (vakṣyamāṇa-nītyā). Even though (api) there is existence (sattve) of mala or impurity (malasya) prior (to Liberation) (prāk), it is impossible (aśakyatvāt) to postulate (vaktum) the doctrine (vādasya) of multiple (nānā) beings (ātma), as there is cessation (upaśamanāt) of that (mala) (tad) in the state (daśāyām) of Mukti or Final Emancipation (mukti). If there would be appearance (sambhave) of residual traces (saṁskāra) of mala (mala) (after Liberation) or (vā) (if a liberated soul is) somehow (katham cid) below (apakarṣe) Anādiśiva --i.e. beginningless Śiva-- (anādi-śivāt)(then those apparent) liberated (mukta) śiva-s (śivāḥ) would be (syuḥ... iti) certainly (eva) saṁsārī-s or transmigratory beings (saṁsāriṇaḥ)3 |
As (yatha) has been stated (uktam): "Caitanya or Consciousness with Absolute Freedom to know and do all" (caitanyam) (is) only (eva) one (ekaḥ) Self (ātmā iti)". (Through this maxim,) the insufficiency of means (anupapattiḥ) (to maintain) the doctrine (vādasya) of multiple (nānā) beings (ātma) has been indicated (sūcitā)|
And (ca) now (atha), in order (prati) to convey (bodhayitum) (the answer to the question) "What (kaḥ iti) (is) the Self (ātmā)?" to the disciples (upadeśyān) who are desirous to know (jijñāsūn)(Śiva --the author of the Śivasūtra-s-- says that) the Self (ātmā) is not (na) the body (śarīra), the vital energy (prāṇa), Buddhi or intellect (buddhi) (or) the Void --śūnya-- (śūnyāni) as assumed (abhyupagatāni) by the common people (laukika) and the Cārvāka system (cārvāka), the Vedic tradition (vaidika), Yogācāra Buddhism (yogācāra), Mādhyamika Buddhism (mādhyamika), etc. (ādi)(respectively,)4  but rather (api tu), as (yathā) has (already) been said (uktam)(the Self is) only (eva) Caitanya or Consciousness endowed with Absolute Freedom or Svātantrya (caitanyam)|
Even (api) in the condition (pade) in which the experient or subject (pramātṛ) is imagined (kalpita) to be the body (śarīra), etc. (ādi)(there is also) a state of true or real (satya) Experient (pramātṛtvena) consisting (maya) of the natural, unimagined (akalpita) I-consciousness (aham-vimarśa) due to a shining forth (sphuraṇāt) of that (Caitanya) (tasya eva)|
That (tad) has (also) been said (uktam) in venerable (śrī) Mṛtyujidbhaṭṭāraka --an epithet of Netratantra-- (mṛtyujidbhaṭṭārake):
"In all (sarva) scriptures (śāstreṣu) is mentioned (paṭhyate) that the nature (rūpam) of the Self (ātmanaḥ) (is) Caitanya (caitanyam), which lacks (vivarjitam) all (sarva) limiting condition (upādhi) (and) is essentially (sva-rūpam) the Supreme (parama) Being (ātma) indeed (tu... iti)"|
In Vijñānabhairava (vijñānabhairave) (has) also (been stated that) (api):
"(The Self) characterized (dharmā) by consciousness (cit) (is present) in all (sarva) bodies --deha(s)-- (deheṣu). There is no (na asti) difference (viśeṣaḥ) anywhere (na... kutracid). For this reason (atas ca), a person (janaḥ) who contemplates (bhāvayan) on all (sarva) (as) identical (mayam) to that (Self) (tad) conquers (jit) the transmigratory existence (bhava... iti)."||
Having condensed or summarized (saṅgṛhya) this (etad) very (concept) (eva) in the form of two (dvayena) aphorisms (kārikā) (occurring) in the venerable (śrī) Spandakārikā-s (spande)(viz.)
"By which (yatas) this (ayam) group (vargaḥ) of organs or instruments --intellect, ego, mind, powers of perception and powers of action-- (karaṇa)..."|
(See Spandakārikā-s I, 6-7)

(it --i.e. the aforesaid concept--) was taught (upadiṣṭam) to (prati) the disciples (upadeśyān) together with (sa) signs or tokens serving as a proof (abhijñānam) by the guru --i.e. Vasugupta, the author of Spandakārikā-s according to Kṣemarāja-- (guruṇā)|
Besides (kiñca), this (etad) Caitanya (caitanyam) which (yad) has been described (uktam) is just (eva) the Self (saḥ... ātmā) (or) nature (svābhavaḥ) of the world (jagataḥ)(that is,) of the (entire) universe (viśvasya) consisting (rūpasya) of existent objects (bhāva) (and) nonexistent objects --i.e. imagined-- (abhāva)(This conclusion is possible,) because it is not promoted (acodanāt) the individual self or essence (of any specific being) (viśeṣa) (in the aphorism)|
There is nothing (na... kaḥ api... bhavati) which is not perceived (by Cit or Consciousness) --i.e. out of the range of Consciousness-- (acetyamānaḥ), undoubtedly (hi). If it is not perceived (by Cit) --i.e. if it is not illuminated by Consciousness-- (acetyamānaḥ) there (cannot) be (na... bhavati) ever (kadācid api) the nature or being (sva-bhāvaḥ) of anything (na... kasya api)|
However (tu)(if) it is perceived (by Cit) --i.e. if it is inside the range of Consciousness-- (cetyamānaḥ)(it is) just (eva) of the nature (ātmā) of Consciousness (caitanya), since it is united --i.e. it is one with-- (ekībhūtatvāt) with the self-luminous (sva--prakāśa) Cit or Consciousness (cit)|
That (very interpretation) (tad) has been mentioned (uktam) in venerable (śrīmat) Ucchuṣmabhairava (ucchuṣmabhairave):
"Oh dear one (priye), as long as (yāvat) these (ete) knowers (vedakāḥ) (are not present), how (katham) (can these) knowables (vedyāḥ) (exist) during that lapse of time (tāvat)? Knower (vedakam) (and) knowable (vedyam) (are) certainly (tu) only one (ekam) principle (tattvam). For that reason (tatas), there is nothing (na asti) which is impure (aśuciḥ... iti)."||
This (etad) very (interpretation) (eva) has been condensed (sangṛhītam) in two (dvayena) aphorisms (of Spandakārikā-s) (kārikā):
"Because (yatas) the individual self (jīvaḥ) is identical (mayaḥ) with all (sarva... iti)..."|
(See Spandakārikā-s II, 3-4)

Because (yatas) Caitanya (caitanyam) (is) the essential nature (sva-bhāvaḥ) of the universe (viśvasya), therefore (tataḥ eva), Pramāṇa --i.e. the means of right, valid knowledge-- (pramāṇa), etc. (ādi) (are) miserable (varākam) (and) inadequate (anupayuktam) for proving (sādhanāya) That --i.e. Caitanya or Consciousness with Absolute Freedom-- (tad), as even (api) the proof (siddhikatvāt) of that (Pramāṇa, etc.) (tasya) is dependent (adhīna) on the self-luminous (sva-prakāśa) Caitanya (caitanya). And (ca), according (yuktyā) to the abovementioned (prokta), it is impossible (aśakyatvāt) for anything (kena api) to veil or cover (āvarītum) Caitanya (caitanyasya) since it is always shedding light --i.e. Caitanya is always luminous-- (sadā prakāśamānatvāt)|
That (tad) has (also) been said (uktam) in venerable (śrī) Trikahṛdaya (trikahṛdaye):
"Just as (yadvat) (when) one attempts (īhate) to jump (laṅghitum) with his (sva) foot (padā) over the shadow (chāyām) of his own (sva) head (śiras)(the shadow of) the head (śiras) is not (na syāt) at the place (uddeśe) (where) the foot (steps on) (pāda), so also (tathā) (is it with) this (iyam) Vaindavī Kalā --i.e. Bindu's Power5 -- (vaindavī kalā... iti)"||
"Just as (yathā) the (shadow of the) head (śiras) of one (tasya) who (yaḥ) attempts (īhate) to jump (over it) (laṅghitum) is (syāt) not (na) at the place (uddeśe) (where) the foot (steps on) (pāda), so (tathā) is this (Vaindavī Kalā) (iyam iti)", (this is) here (atra) the syntactical connection (sambandhaḥ)|
With this (anena eva) intention (āśayena), it has been proved (iti pramaṇīkṛtam) by a large quantity (mahatā) of stanzas (granthena) in the Spandakārikā-s (spande) that Caitanya or Consciousness with complete Freedom to know and do all (caitanyam) is (asti) always (sarvadā) the self-luminous (sva-prakāśam) Absolute Truth (paramārthasat) (and) of the nature (rūpam) of the Spanda --i.e. Supreme Vibration-- (spanda) principle (tattva), which is essentially (ātmaka) Śaṅkara --i.e. Śiva-- (śaṅkara)(in the stanza) beginning (upakramya) (with):
"In whom (yatra) rests (sthitam)... (iti ādi)6 "|
(See Spandakārikā-s I, 2)

(and) ending (antena) (with):
"... that (tad) is (asti), in the highest sense (paramārthatas... iti), (the principle of Spanda)"|
(See Spandakārikā-s I, 5)

||1||
The Śiva Sūtra
1. Śāmbhavopāya, Śiva’s View
1.1 Consciousness is the self. चैतन्यमात्मा॥१॥
1.3 (Ordinary) knowledge consists of associations. ज्ञानं बन्धः॥२॥
1.3 Emanations of the source are embodied activity. योनिवर्गः कलाशरीरम्॥३॥
1.4 The ground of knowledge is mātṛkā. ज्ञानाधिष्ठानं मातृका॥४॥
1.5 The upsurge (of consciousness) is Bhairava. उद्यमो भैरवः॥५॥
1.6 By union with the energy centers one withdraws from the universe. शक्तिचक्रसन्धाने विश्वसंहारः॥६॥
1.7 Even during waking, sleep, and deep sleep one can experience the fourth state (transcending ordinary consciousness). जाग्रत्स्वप्नसुषुप्तभेदे तुर्याभोगसम्भवः॥७॥
1.8 (Sensory) knowledge is obtained in the waking state. ज्ञानं जाग्रत्॥८॥
1.9 Dreaming is free ranging of thoughts. स्वप्नो विकल्पाः॥९॥
1.10 Deep sleep is māyā, the (state of) delusion. अविवेको मायासौषुप्तम्॥१०॥
1.11 The experiencer of the three states is the lord of the senses. त्रितयभोक्ता वीरेशः॥११॥
1.12 The stages of the union are astonishing, vismaya. विस्मयो योगभूमिकाः ॥१२॥
1.13 The power of the will is the playful Umā. इच्छाशक्तिरुमा कुमारी॥१३॥
1.14 The observed is embodied. दृश्यं शरीरम्॥१४॥
1.15 By fixing the mind on its core one can comprehend the perceivable and emptiness. हृदये चित्तसङ्घट्टाद्दृश्यस्वापदर्शनम्॥१५॥
1.16 Or by contemplating the pure principle one is free of the power that binds animal instincts. शुद्धतत्त्वसन्धानाद्वापशुशक्तिः॥१६॥
1.17 Right discernment is the knowledge of the self. वितर्क आत्मज्ञानम्॥१७॥
1.18 The bliss of the sight is the joy of samādhi. लोकानन्दः समाधिसुखम्॥१८॥
1.19 The body emerges when the energies unite. शक्तिसन्धाने शरीरोत्पत्तिः॥१९॥
1.20 Elements united and elements separated and the universe is assembled. भूतसन्धानभूतपृथक्त्वविश्वसङ्घट्टाः॥२०॥
1.21 Pure knowledge leads to a mastery of the wheel (of energies). शुद्धविद्योदयाच्चक्रेशत्वसिद्धिः॥२१॥
1.22 The great lake (of space-time) is experienced through the power of mantra. महाह्रदानुसन्धानान्मन्त्रवीर्यानुभवः॥२२॥
Śāktopāya, the Process
2.1 The mind is a measure, mantra. चित्तं मन्त्रः॥१॥
2.2 Effort leads to attainment. प्रयत्नः साधकः॥२॥
2.3 The secret of mantra is the being of the body of knowledge. विद्याशरीरसत्ता मन्त्ररहस्यम्॥३॥
2.4 The emergence of the mind in the womb is like a dream based on inferior knowledge. गर्भे चित्तविकासोऽविशिष्टविद्यास्वप्नः॥४॥
2.5 When the knowledge of one’s self arises, one moves in the Sky of Consciousness — — Śiva’s state. विद्यासमुत्थाने स्वाभाविके खेचरी शिवावस्था॥५॥
2.6 The guru is the means. गुरुरुपायः॥६॥
2.7 The awakening of the wheel of mātṛkā (the elemental energies). मातृकाचक्रसम्बोधः॥७॥
2.8 The body is the oblation. शरीरं हविः॥८॥
2.9 The food is knowledge. ज्ञानमन्नम्॥९॥
2.10With the extinction of knowledge emerges the vision of emptiness.
विद्यासंहारे तदुत्थस्वप्नदर्शनम्॥१०॥
Āṇavopāya, the Individual’s Means
3.1 The mind is the self. आत्मा चित्तम्॥१॥
3.2 (Material) knowledge is bondage (association). ज्ञानं बन्धः॥२॥
3.3 Māyā is the lack of discernment of the principles of transformation (kalā). कलादीनां तत्त्वानामविवेको माया॥३॥
3.4 The transformation is stopped in the body. शरीरे संहारः कलानाम्॥४॥
3.5 The quieting of the vital channels, the mastery of the elements, the withdrawal from the elements, and the separation of the elements. नाडीसंहारभूतजयभूतकैवल्यभूतपृथक्त्वानि॥५॥
3.6 Perfection is through the veil of delusion. मोहावरणात्सिद्धिः॥६॥
3.7 Overcoming delusion while enjoying the world innate knowledge is obtained. मोहजयादनन्ताभोगात्सहजविद्याजयः॥७॥
3.8 Waking is the second ray (of consciousness). जाग्रद्द्वितीयकरः॥८॥
3.9 The self is the actor. नर्तक आत्मा॥९॥
3.10 The inner self is the stage. रङ्गोऽन्तरात्मा॥१०॥
3.11 The senses are the spectators. प्रेक्षकाणीन्द्रियाणि॥११॥
3.12 The pure state is achieved by the power of the intellect. धीवशात्सत्त्वसिद्धिः॥१२॥
3.13 Freedom (creativity) is achieved. सिद्धः स्वतन्त्रभावः॥१३॥
3.14 As here so elsewhere. यथा तत्र तथान्यत्र॥१४॥
3.15 Emission (of consciousness) is the way of nature and so what is not external is seen as external. विसर्गस्वाभाव्याद् अबहिः स्थितेस्तत्स्थितिः॥१५॥
3.16 Attention to the seed. बीजावधानम्॥१६॥
3.17 Seated one sinks effortlessly into the lake (of consciousness). आसनस्थः सुखं ह्रदे निमज्जति॥१७॥
3.18 The measure of consciousness fashions the world. स्वमात्रानिर्माणमापादयति॥१८॥
3.19 As (limited) knowledge is transcended, birth is transcended. विद्याविनाशे जन्मविनाशः॥१९॥
3.20 Māheśvarī and other mothers (sources) of beings reside in the “k” sound elements. कवर्गादिषु माहेश्वर्याद्याः पशुमातरः॥२०॥
3.21 The fourth (state of consciousness) should be used to oil the (other) three (states of consciousness). त्रिषु चतुर्थं तैलवदासेच्यम्॥२१॥
3.22 Absorbed (in his nature), one penetrates (the phonemes) with one’s mind. मग्नः स्वचित्तेन प्रविशेत्॥२२॥
3.23 A balanced breathing leads to a balanced vision. प्राणसमाचारे समदर्शनम्॥२३॥
3.24 The lower plane arises in the center (of the phoneme). मध्येऽवरप्रसवः॥२४॥
3.25 What was destroyed rises again by the joining (sandhāne) of perceptions (svapratyaya) with the objects (mātrā) of experience. मात्रास्वप्रत्ययसन्धाने नष्टस्य पुनरुत्थानम्॥२५॥
3.26 He becomes like Śiva. शिवतुल्यो जायते॥२६॥
3.27 The activity of the body is the vow. शरीरवृत्तिर्व्रतम्॥२७॥
3.28 The recitation of the mantras is the discourse. कथा जपः॥२८॥
3.29 Self-knowledge is the gift. दानमात्मज्ञानम्॥२९॥
3.30 He who is established is the means and knowledge. योऽविपस्थो ज्ञाहेतुश्च॥३०॥
3.31 The universe is the aggregate of his powers. स्वशक्तिप्रचयोऽस्य विश्वम्॥३१॥
3.32 Persistence and absorption. स्थितिलयौ॥३२॥
3.33 Even when this (maintenance and dissolution) there is no break (anirāsaḥ, in awareness) due to the perceiving subjectivity. तत्प्रवृत्तावप्यनिरासः संवेत्तृभावात्॥३३॥
3.34 The feeling of pleasure and pain is external. सुखदुःखयोर्बहिर्मननम्॥३४॥
3.35 The one who is free of that is alone (with consciousness). तद्विमुक्तस्तु केवली॥३५॥
3.36 A mass of delusion the mind is subject to activity. मोहप्रतिसंहतस्तु कर्मात्मा॥३६॥
3.37 When separateness is gone, action can lead to creation. भेदतिरस्कारे सर्गान्तरकर्मत्वम्॥३७॥
3.38 The power to create is based on one’s own experience. करणशक्तिः स्वतोऽनुभवात्॥३८॥
3.39 That which precedes the three (states of consciousness) vitalizes them. त्रिपदाद्यनुप्राणनम्॥३९॥
3.40 The same stability of mind (should permeate) the body, senses and external world. चित्तस्थितिवच्छरीरकरणबाह्येषु॥४०॥
3.41 Craving leads to the extroversion of the inner process. अभिलाषाद्बहिर्गतिः संवाह्यस्य॥४१॥
3.42 When established in pure awareness, (the craving) is destroyed and the (empirical) individual ceases to exist. तदारूढप्रमितेस्तत्क्षयाज्जीवसङ्क्षयः॥४२॥
3.43 Although cloaked in the elements that are not free, like the Lord, one is supreme. भूतकञ्चुकी तदा विमुक्तो भूयः पतिसमः परः॥४३॥
3.44 The link with the vital breath is natural. नैसर्गिकः प्राणसम्बन्धः॥४४॥
3.45 Concentrating on the center within the nose, what use are the left and the right channels or suṣumnā? नासिकान्तर्मध्यसंयमात् किमत्र सव्यापसव्यसौषुम्नेषु॥४५॥
3.46 May (the individual) merge (in the Lord) once again. भूयः स्यात्प्रतिमीलनम्॥४६॥

At the level of sensations, epilepsy is an example of temporary disruption of consciousness even while the ātman has not suffered brain death. Various physiological reasons are suggested for the episodes of epilepsy in a person prone to such epileptic disruptions.

In Indian tradition, this is exemplified by a metaphor of the Cosmic Dance."Apasmāra was a dwarf who represented ignorance and nonsensical speech. He is also known as Muyalaka or Muyalakan. To preserve knowledge in the world, Apasmāra could not be killed; to do so would throw out the balance of knowledge and ignorance—as to kill Apasmāra would mean attaining knowledge without effort, dedication and hard work. Consequently, this would lead to the devaluing of knowledge in all forms. To subdue Apasmāra, Lord Śiva adopted the form of Śrī Naṭarāja - the Lord of Dance and performed the cosmic dance of Tāṇḍava. During this dance, Śrī Naṭarāja suppressed Apasmāra by crushing him with his right foot. As Apasmāra is one of the few demons destined to immortality, it is believed that Lord Śiva forever remains in his Śrī Naṭarāja form suppressing Apasmāra for all eternity.Epilepsy is a group of neurological disorders characterized by recurrent epileptic seizures.[10][11] Epileptic seizures are episodes that can vary from brief and nearly undetectable periods to long periods of vigorous shaking. These episodes can result in physical injuries, including occasionally broken bones. In epilepsy, seizures have a tendency to recur and, as a rule, have no immediate underlying cause.(Chang BS, Lowenstein DH (September 2003). "Epilepsy". The New England Journal of Medicine349 (13): 1257–66). In Ayurveda, four types of Apasmāra are mentioned by Caraka. (B.V. Manyam (1992), Epilepsy in ancient India. Epilepsia. 1992 May-Jun;33(3):473-5)

चेतन mf(/ई)n. visible , conspicuous , distinguished , excellent RV. AV. ix , 4 , 21; percipient , conscious , sentient , intelligent Kat2hUp. v , 13 S3vetUp. vi , 13 Hariv. 3587 KapS. Tattvas. &c; m. an intelligent being , man Sarvad. ii , 221; n. conspicuousness RV. i , 13 , 11 and 170 , 4 ; iii , 3 , 8 ; iv , 7 , 2; ātman,mind.

The brain requires approximately 3.3 ml of oxygen per 100 g of brain tissue per minute.
The brain represents only 2% of the human body weight; it receives 15% of the cardiac output, 20% of total body oxygen consumption, and 25% of total body glucose utilization. Oxygen waves and glucose energy keep the brain tissues, neurons, and the entire neuronal network ALIVE as aatman, 'consciousness' or cetana.
This disproportionate consumption of oxygen and glucose in energy metabolism of the brain is comparable to the solar winds and magnetic forces released from the surface of the sun top the corona solar region making the corona intensely hot achieving millions of degrees fahrenheit.
Similarly, a model can be postulated that a LIVE Brain continuously releases energy in nano heat waves and cosmic signals making the entire surfac area of the human body pulsate with cosmic energy. People studying brain waves should figure out measuring techniques to monitor this cosmic energy.
Oxygenation of the brain has to be complemented by carbon dioxide and nitric oxide levels to ensure circulation of blood which feeds oxygen and glucose into the brain. Thus breathing properly, as in Yoga exercises, we facilitate this process of oxygenation of the brain. Proper breathing ensures the Prana, life in the brain is in an active state and adequate energy levels needed for it to continue its ffunctions. This is the significance of the OM or pranava -- both oxygen and wave energy forms -- as divinity pulsating in the human brain and body.
Udgitha, a word found in Sama Veda and bhasya (commentaries) based on it, is also used as a name of the syllable.The sound form OM has three phonemes: "a-u-m". 
The sound is composed of  AgniVayu and Aditya and constitutes the light endowed body --Bhūr, Bhuvaḥ and SvaḥThe world is Om, its light is Sun, and the Sun is also the light of the syllable Om(Maitrayaniya Upanishad)

That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman.[66]
It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.

Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate[67] that Imperishable as the mark, my friend.

Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 – 2.2.4 OM is symbolism for ātman.


तस्य वाचकः प्रणवः ॥२७॥ His word is Om.

— Yogasutra 1.27,


 Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies.This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).

Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. These four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self).[72] These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva (intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation).The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
It is a celebration of the cosmic powers of the universe.The Brahmana layer of Vedic texts equate Om with Bhur-bhuvah-Svah, the latter symbolizing "the whole Veda". They offer various shades of meaning to Om, such as it being "the universe beyond the sun", OM is a meditation device. Chandogya Upanishad opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om). Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa – who meets Yama, the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge, Atman (Soul, Self) and moksha (liberation).
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad, 1.2.15-1.2.16[
OM as aatman symbol. When Brain death occurs, life form ceases and the energised aatman ceases it release of energy and merges with the cosmic energy, paramaatman. Since aatman is consciousness, brain death is the definitive movement of cessation of life in a human body.

Atma Upanishad








Purusha manifests itself as three types of atman (Self): Ajayat-Atma or external atman (born self, body), Antar-Atma or the internal atman (individual soul), and the Paramatman or the highest atman (Brahman, the universal soul).

The external or outer self, states the text is composed of the anatomical organs and parts to see, perceive, act, react and procreate. The outer Self is the physical body, it is born and it perishes

The internal self is what perceives the five elementsPrithvi (Earth), Ap (water)Vayu (air), Agni (fire) and Akasha (ether). This inner self, is discerned as consciousness, through activities such as perceiving the empirical world, speaking, dancing, singing, yawning; manifestations such as memory; it is the victim of ambition, likes and dislikes, anger, fear, greed, pleasure and pain, doubts and delusion.

The inner self discriminates and distinguishes between philosophies such as NyayaMimamsaPuranas and various Dharmashastras

These abilities, the mind (Manas) and consciousness (Cit) constitute the inner self, defines the Atma Upanishad.[

The highest Self is the one who is venerated by syllables of the Om, and adored in the Vedas One mediates over this highest Self by practising yoga: breath-control, withdrawing in the mind and other yogic exercises 

Like the seed of the ficus tree or millet cannot be comprehended by even by breaking into 100,000 parts, similarly Paramatman cannot be comprehended by breaking it into parts, as it is partless, it has no property and no quality (Guna), it is pure and is not the effect of works 

It is the infinite Brahman, the Purusha that is neither born nor dies nor decays, states the text.

It cannot be divided, burnt or destroyed. It has no limbs, no stains, no conflicts, no expectations and is untouched by the feelings of the sensory organs or ego. It is detached from outer self and inner self, it is all pervading, pure, changeless.
Commentary
The German Indologist Paul Deussen states the Atma Upanishad converts the "beautiful poetic" section on the Atman in the Chandogya Upanishad, into "most dry" scholastic description 

The Upanishad explains and references hymn fragments from ancient texts, including classical Upanishads. The description of Paramatman in this text is derived from the Chandogya Upanishad, the Shvetashvatara Upanishad, the Prashna Upanishad, the Bhagavad Gita the Katha Upanishad, the Dhyanabindu Upanishad, the Yogashikha Upanishad and the Maitrayaniya Upanishad

वासना स्त्री वासि--युच् । १ प्रत्याशायां २ ज्ञाने मेदि०३ स्मृतिहेतौ संस्कारे जटा० । ४ सुरभीकरणे च ।मिथ्याज्ञानजन्ये ५ संस्कारभेदे दोषशब्दार्थे । ६आलयविज्ञानानामेकसत्तानवर्त्तिनां तत्तत्प्रवृत्तिविज्ञानजनन-शक्तौ बौद्धाः । ७ गणितशास्त्रप्रसिद्धे ग्रहस्पष्टीकरणाद्युपयोगिनि संस्कारभेदे च । https://sa.wikisource.org/wiki/वाचस्पत्यम्
वासना, स्त्री, (वासयति कर्म्मणा योजयति जीव-मनांसीति । वस + णिच् + युच् । टाप् ।)प्रात्याशा । (यथा, भागवते । २ । २ । २ ।“शाब्दस्य हि ब्रह्मण एष पन्थायन्नामभिर्ध्यायनि धीरपार्थैः ।परिभ्रमंस्तत्र न विन्दतेऽर्थान्मायामये वासनया शयानः ॥”)ज्ञानम् । इति मेदिनी । ने, १३० ॥ स्मृतिहेतुः ।तत्पर्य्यायः । संस्कारः २ भावना ३ । इति जटा-धरः ॥ देहात्मबुद्धिजन्यमिथ्यासंस्कारः । इतिन्यायशास्त्रम् ॥ दुर्गा । यथा, --“वसत्यदृष्टा सर्व्वेषु भूतेष्वन्तर्हितांय च ।धातुर्व्वस निवासेति वासना तेन सा स्मृता ॥”इति देवीपुराणे ४५ अध्यायः ॥(अर्कस्य भार्य्या । यथा, भागवते । ६ । ६ । १३ ।“अर्कस्य वासना भार्य्या पुत्त्रास्तर्षादयःस्मृताः ॥”) https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः

akaṅkārāṉma-vāti * அகங்காரன்மவாதி akaṅkārāṉma-vāti , n. id. + ātman +. One who holds that ahaṃ-kāra is the soul; அகங்காரமே ஆன்மா என் னுங் கொள்கையான். (சி. சி. 4, 1, ஞானப்.) āttumam * ஆத்துமம்¹ āttumam , n. ātman. Life; உயிர். ஆத்துமம்விட் டிறக்குநாள் (குற்றா. குற. கடவுள் வணக். 6).ஆத்மா ātmā , n. < ātmā. 1. Soul, principle of life and sensation; சீவான்மா. 2. Living creature, animate or sentient being; பிராணி. இரணியகர்ப்பர் (p. S126) iraṇiya-karppar ...The sect of the Cārvākas who hold that ātman is pirāṇaṉ; பிராணனே ஆத்துமா என்னுஞ் சார்வாகருள் ஒரு சாரார். (விவேக சிந். பக். 17.)
आत्मकर्म्मन् त्रि० ६ त० । आत्मनः स्वस्य कर्त्तव्ये कार्य्ये
“आत्मकर्म्मक्षमं देहं क्षात्रोधर्म्म इवाश्रितः” रघुः । 

आत्मन् पु० अत--मनिण् । १ स्वरूपे, २ यत्ने, ३ देहे, ४ मनसि,५ बुद्धिस्थे निजे, ६ बुद्धौ, ७ अर्के, ८ वह्नौ, ९ वायौ, १० जीवे,११ ब्रह्मणि च । “आत्मानं चेद्विजानीयदह मस्मीति पुरुष-इति श्रुत्युक्तेः अहंप्रत्ययविषयत्वमात्मनः । अहं प्रत्यय-विषयत्वे च बह्व्यःवादिविप्रतिपत्तयः शा० भाष्येदर्शिताः ।“देहमात्रं चैतन्यविशिष्टमात्मेति प्राकृताजना लौकायति-काश्च प्रतिपन्नाः । इन्द्रियाण्येव चेतनान्यात्मेत्यपरे ।मनइत्यन्ये । विज्ञानमात्रंक्षणिकमित्येके । शून्यमित्यप्ररे । अस्तिदेहादिव्यतिरिक्तः संसारी कर्त्ता भोक्तेत्यपरे । भोक्तैवकेवलं न कर्त्तेत्येके । अस्ति तद्व्यतिरिक्त ईश्वरः सर्वज्ञःसर्वशक्तिरिति केचित् । आत्मा स भोक्तुरित्यपरे । एवं हिबहवोविप्रतिपन्नाः युक्तिवाक्यतदाभाससमाश्रयाः सन्तः” ।विवृतञ्चैतत् प्रतिपत्तिकारणसामान्यधर्म्मप्रदर्शनपुरः-सरं विवरणोपन्यासे माधवाचार्य्येण “यथारज्जुद्रव्यस्य दण्डसर्पधारादावनुष्यूतरूपेण प्रतीयमा-नत्वमेव सामान्यम् तथाऽऽत्मनः शरीरेन्द्रियमनोबुद्धिशून्यकर्त्तृभोक्तृसर्वज्ञब्रह्माख्यपदार्थेषु विप्रतिपत्तिस्कन्धेषुअनुष्यूतत्वेन प्रतीयमानत्वमेव सामान्यं भविष्यति प्रत्यक्षसिद्धेऽपिशरीराद्यर्थे प्रयुज्यमानस्यात्मवाचिनोऽहंशब्दस्य गोशब्दवद-र्थविप्रतिपत्तिरुपपद्यते । गोशब्दस्य हि तत्तत्पक्षसिद्धव्य-क्त्याकृतिजातिक्रियागुणाद्यर्थेषु प्रयुज्यमानस्य जातिरर्थत्वेनवैदिकैः प्रतिपन्ना, व्यक्तिः सांख्यादिभिः, उभयं वैया करणैः,स्वावयवसंस्थानाख्याकृतिरार्हतादिभिः । त्रितयमपिनैयायिकाद्यैः । अथ गोशब्दप्रयोगे जात्यादीनामन्वयव्यतिरेकनियमात्तदर्थत्वशङ्का । तर्ह्यहंशब्दप्रयोगेऽपिशरीरादीनामन्वयव्यतिरेकनियमात्तदर्थशङ्कास्तु । तत्रविचारविरहितं प्रत्यक्षमेव प्रमाणमाश्रित्य चेतयमानोऽहमा-त्मेति प्राकृताः शास्त्रसंस्कारवर्ज्जिता जनाः प्रतिपन्नाः ।तथा भूतचतुष्टयमात्रतत्त्ववादिनो लौकायतिकाश्च, मनुष्पोऽहंजानामीति शरीरस्याहंप्रत्ययालम्बनत्वेन ज्ञानाश्रयत्वेनचावगम्यमानत्वात्तदेवात्मेति मन्यन्ते । अन्ये पुनरेवमाहुःसत्यपि शरीरे चक्षुरादिभिर्विना रूपादिज्ञानाभावादिन्द्रियाण्येव चेतनानि । न चेन्द्रियाणां करणतया ज्ञानान्वयव्यतिरेकयोरन्यथासिद्धिः । करणत्व ल्पनादुपादानत्वकल्पनस्याभ्यर्हितत्वात् । अतः अन्धोऽहं काणोऽहंमूकोऽहमित्यहं प्रत्ययालम्बनानि चेतनानीन्द्रियाणि प्रत्ये-कमात्मत्वेनाभ्युपेयानि शरीरे त्वहंप्रत्ययालम्बनत्वं चेतन-त्वञ्चात्मभूतेन्द्रियाश्रयत्वादन्यथासिद्धम् । नन्वेकस्मिन्शरीरे बहूनामिन्द्रियाणां चेतनत्वे यएवाहं पूर्वं रूपमद्रा-क्षं स एवेदानीं शब्दं शृणोमीति प्रत्यभिज्ञा न स्यात् ।तथा भोक्तृत्वं रूपादिषु युगपदेव स्यान्न क्रमेणेति चेत्मैवम् न हि चेतनैकत्वं प्रत्यभिज्ञाक्रमभोगयोर्निमित्तंकिन्त्वेकशरीराश्रयत्वमेव । ततो यथैकस्मिन् गृहे बहूनांपुरुषाणामेकैकस्य विवाहेऽन्येषामुपसर्जनत्वं तथेन्द्रियात्म-नामपि एकैकस्योपभोगकालेऽन्येषामुपसर्जनत्वम् । अन्ये तुमन्यन्ते स्वप्नेचक्षुराद्यभावेऽपि केवले मनसि विज्ञानाश्रय-त्वमहं प्रत्ययालम्बनत्वं चोपपद्यते । न च रूपादिविज्ञा-नानां चक्षुराद्याश्रयत्वं, तथासति केवले मनसि रूपादिस्मृत्यनुपपत्तेः । ततः करणान्येव चक्षुरादीनि अहंप्र-त्ययस्तु तत्र कर्त्तृत्वोपचारात् सिद्ध्यति । न चानेकात्म-स्वेकशरीराश्रयत्वमात्रेण प्रत्यभिज्ञा युज्यते एकप्रासा-दमाश्रितानामपि तत्प्रसङ्गात् । तस्माच्चक्षुरादिकरणकंशरीराद्याधारं मनएवात्मेति । विज्ञानवादिनस्तु क्षणि-कविज्ञानव्यतिरिक्तवस्तुनः सद्भावमनुभवविरुद्धम् मन्वा-नास्तस्यैव विज्ञानस्यात्मत्वमाहुः । प्रत्यभिज्ञानं तुज्वालायामिव सन्ततविज्ञानोदयसादृश्यादुपपद्यतेविज्ञानानां हेतुफलसन्तानमात्रादेव कर्म्मज्ञानबन्धमोक्षा-दिसिद्धिः । माध्यमिकास्तु सुषुप्तौ विज्ञानस्याप्यदर्शनाच्छून्यमेवात्मतत्त्वमित्याहुः यदि सुषुप्तौ विज्ञानप्रवाहः स्या-त्तदा विषयावभासोऽपि प्रसज्येत । निरालम्बनज्ञानायो-गात् जाग्रत्स्वप्नज्ञानानामेव सालम्बनत्वं न सौषु-प्तिकज्ञानानामिति चेत् न विशेषाभावात् विमतंसालम्बनम् प्रत्ययत्वात् संमतवदिति । उत्थितस्यसौषुप्तविषयस्मृत्यभावनियमान्न तत्र विषय इति चेत् ।तर्हि तत्र नियमेनास्मर्य्यमाणत्वादेव ज्ञानमपि मा भूत् । नच शून्ये विवदितर्व्य यथा सविकल्पकः स्वविषयविपरीतनिर्विकल्पकजन्यस्तथा सत्प्रत्ययोऽपि स्वविपरीतशून्यजन्यइत्यभ्युपेयत्वात् एवं चोत्थाने सति जायमानस्याहम-स्मीति सत्प्रत्ययस्य समनन्तरपूर्वप्रत्ययलक्षणकारणरहितस्यवास्तवत्वायोगाच्छून्यमेव तत्त्वमिति । अपरे पुनः शरीरे-न्द्रियमनोविज्ञानशून्यव्यतिरिक्तं स्थायिनं संसारिणंकर्त्तारं भोक्तारमात्मानमाहुः । न च शून्येऽहंप्रत्ययउपपद्यते बन्ध्यापुत्रादावपि तत्प्रसङ्गात् । नापि क्षणिक-विज्ञाने क्रमभावी व्यवहारो युज्यते सर्व्वो हि लोकोऽनुकूलंवस्तु प्रथमतो जानाति ततः इच्छति ततः प्रयततेततस्तत् प्राप्नोति ततः सुखं लभते । यद्येतादृशमेककर्त्तृकतयाभासमानं व्यवहारमेकसन्तानवर्त्तिनो बहव आत्मानःपरस्परवार्त्तानभिज्ञा अपि निस्पादयन्ति तदा भिन्नसन्ता-नवर्त्तिनः किन्न निष्पादयेयुः । तस्माद्यएवाहमिदं वस्त्वज्ञा-सिषं सएवाहमिदानीमिच्छामीत्याद्यबाधितप्रत्यभिज्ञाननि-र्वाहाय स्थायी आत्माभ्युपेयः । न चासौ विज्ञानरूपःअहंविज्ञानमित्येकत्वानुभवाभावात् । ममेदं विज्ञानमितिसंबन्धोह्यनुभूयते । नचायमनुभवोममात्मेतिवदौपचारिकःबाधकाभावात् । एतेन शरीरेन्द्रियमनसामात्मत्वं प्रत्यु-क्तम् । तत्रापि बन्धतत्प्रत्ययस्यानिवार्य्यत्वात् अहमुल्ले-खस्यात्राध्यासिकत्वात् । नचायमात्मा सादिः । शरीरो-त्पत्तिसमनन्तरमेव खदुःखप्राप्तिमालोक्य तद्धेतुभूतयोःपुण्यपापयोः कर्त्ता पूर्ब्बमप्यस्तीत्यवगमात् । नचायम-नित्यः विनाशानिरूपणात् । न तावत् तोविनाशःनिर्हेतुकविनाशस्यातिप्रसंङ्गिनः सुगतेतरैरनङ्गीकारात् ।नापि परतः । निरवयवस्य विनाशहेतुसंसर्गासंभवात्संभवे वा  विनाशः सिद्ध्येत् । कर्मनिमित्तोह्यन्यस्य संसर्गःस च तत्कर्म्मफलोपभोगायात्मनोऽवस्थितिमेव साधयेन्नविनाशं तस्मादनादेरविनाशिनोऽनन्तशरीरेषु यातायात-रूपः संसारः सिद्धः । निर्विकारस्य भोगासंभावाद्विका-रस्य क्रियाफलरूपस्याभ्युपगमे क्रियावेशात्मकं कर्त्तृत्वमनिवार्य्यम् । भोक्तृत्वमप्यनुभूयमानं शरीरादिषु विज्ञानपर्य्यन्तेषुअनुपपन्नत्वादुक्तात्मन्येव पर्य्यवस्यति । तथा हि । शरीरंतावत् पञ्चभूतसंघातरूपम् “पञ्चभृतात्मके तत्तच्छरीरे पञ्च-ताङ्गत” इत्यादिशास्त्रात् । यत्तु नैयायिका मन्यन्ते मूलो-कवासिनां शरीरं पार्थिवमेव तत्र क्लेदनाद्युपलब्धिर्वस्त्रा-दाविव भूतान्तरोपष्टम्भादिति । तदसत् । शोषणादिनाजलाद्यपगमेऽपि यथा वस्त्रादिस्वरूपस्य नापचयः । तथाक्लेदनपाचनव्यूहनावकाशानामपगमेऽपि शरीरस्यापचथा-भावप्रसङ्गात् । यच्च वैशेषिकैरुच्यते पञ्चभूतास्माकत्वेशरीरस्याप्रत्यक्षत्वप्रसङ्गः वाय्वाकाशयोरप्रत्यक्षतया प्रत्य-क्षाप्रत्यक्षवृत्तित्वादिति तदप्ययुक्तम् । तथासति सर्वावयविनामप्रत्यक्षत्वापातात्तेषां प्रत्यक्षाप्रत्यक्षावयववृत्तित्वात् ।न हि सूक्ष्माः परभागस्थिताश्चावयविनोऽवयवाः प्रत्यक्षी-कर्त्तुं शक्यन्ते । तस्माद्भूतसंघातः शरीरम् । न च गन्धा-दिमतां तद्रहितानाञ्च भूतानामेककार्य्याजनकत्वंपरस्परविरोधादिति वाच्यम् तथा सति नीलादीनामेकाव-यविजनकत्वस्यैकचित्ररूपारम्भकत्वस्य चासम्भवप्रसङ्गात् ।अनुभवबलादेव तत्र तथा स्वीकारे प्रकृते पि न तद्दण्डवा-रितम् । तत्र शरीरस्य भोक्तृतां वदन्तो लौकायतिकाःप्रष्टव्याः किं व्यस्तानां भूतानां प्रत्येकं भोक्तृत्वमुत सम-स्तानाम्, आद्येऽपि न तावद्युगपत् सर्वेषाम्भोक्तृता ।तदास्वार्थप्रवृत्तानां तेषाम् अन्योऽन्यमङ्गाङ्गिभावानुपपत्तौसंघातापत्त्यभावप्रसङ्गात् । अन्तरेणैव संघातम्भोक्तृत्वे देहाद्बहिरप्येकैकस्य भूतस्य भोक्तृतोपलभ्येत । नापि क्रमेणतेषां भोक्तृत्वं संघातानुपपत्तितादवस्थ्यात् । न चवरविवाहन्यायेन गुणप्रधानभावेन तदुपपत्तिः, वैषम्यात् ।यथैकैकवरस्यासाधारणत्वेनैकैका कन्या भोग्या न तथा चतुर्णांपृथिव्यप्तेजोवायूनां भोक्तॄणां रूपरसगन्धस्पर्शा भोग्या व्यव-स्थिताः । कथं क्रमभोगः । अथ कथञ्चित् व्यवतिष्ठेरन् । तदायुगपत्सर्वविषयसन्निधाने सति क्रमानुपपत्तिः । यथैकस्मिन्मूहूर्त्तेप्रत्थेकं भोग्यकन्यावस्तुनि सन्निहिते वराणां क्रम-विवाहोगुणप्रधानतया संघातोवा नास्ति तद्वत् । नापिसमस्तानां भोक्त्रत्वसम्भवः । प्रत्येकमविद्यमानस्य चैतन्यस्यसंघातेऽप्यभावाद्भोगानुपपत्तेः । अथ मन्यसेऽग्नौ प्रक्षिप्तेषुतिलेष्वेकैकस्य ज्वालाजनकत्वाभावेऽपि तिलसमूहस्ययथातज्जनकत्वं तथा संघातस्यैव चैतन्यं स्यादिति तदपि संघा-तापत्तौ हेतुर्वक्तव्यः । आगामिभोगो हेतुरिति चेन्नयदि तावद्भोगस्य गुणभावः तदा प्रधानभूतानामन्योऽ-न्यं गुणप्रधानभावरहितानां कथं संघातापत्तिः प्राधान्यंतु भोगस्यानुपपन्नम् भोक्तृशेषत्वात् । नच वाच्यंशेषिणं भोगं प्रति शेषभूतयोः स्त्रीपुंशरीरयोः भोक्त्रोःसंघातापत्तिर्दृष्टेति, तत्रापि शरीरे भोक्तृत्वासंप्रतिपत्तेः ।ज्वालां प्रति तिलानां संघातापत्तिरिति योऽयं दृष्टान्तःसोऽपि तवासिद्धः संघातानिरूपणात् । न तावत् संघातोनामभोग्यभोगिनोर्वनवदेकदेशतामात्रम् तथा सति तेन न्या-येन व्यापिनां भूतानां सर्वत्र सत्त्वाच्चैतन्यभोगयोः सार्व-त्रिकत्वप्रसङ्गात् । नापि तदारव्वोऽवयवी संघातः तस्य भूते-भ्योभेदे पञ्चमतत्त्वाभ्युपगमप्रसङ्गात् । अभेदे भूतमात्रतयासंघातत्वासम्भवात् । भेदाभेदयोश्चानङ्गीकरणात् । अथाव-यंविनः पारतन्त्र्यान्न पञ्चमतत्त्वापत्तिस्तर्हि जलादेः पृथि-व्यादितन्त्रत्वान्न तत्त्वचतुष्टयमपि सिध्येत् । न चैकद्रव्यबुद्धा-वन्वयोग्यतापत्तिः संघातः, वस्तुतो ऽनेकेष्वेकत्वबु-द्धेर्विभ्रममात्रत्वात् । न चैकार्थक्रियायां युगपदन्वयःसंघातः, तदानीं काष्ठाश्रयेण वह्निना वायुसमुद्धृतेजलेताप्यमाने सति तत्र भूतचतुष्टयसं घाताद्भोगप्रसङ्गात् ।नचाम्न्ययःपिण्डवत्संश्लेषः संघातः, शरीरे वायोस्तथाद्येपाभावात् । वह्निव्याप्तेनायःपिण्डेन सन्तापितजलेवायुसंयुक्ते भोगप्रसङ्गात् । न चोक्तदोषपरि-तदप्ययुक्तम् । तत्र किं चक्षुःश्रोत्रयोरप्राप्यकारित्वम् उततदिरेषामपि न तावदितरेषां दूरत एव स्पर्शरसगन्धोपब्धि-प्रसङ्गात् नापि प्रथमः विमते चक्षुःश्रोत्रेप्राप्यकारिणी बाह्ये-न्द्रियत्वात् घ्राणादिवत् । तेजसश्चातिदूरशीघ्रगमनदर्शनात्उन्मीलन मात्रेण चक्षुषो ध्रुवादिप्राप्तिरविरुद्धा शब्दस्य चवीचिसन्तानवत् परम्परया श्रोत्रसमवायप्राप्तिरिति” यत्ता-र्किकैरुच्यते । तदसत् तथा सति इह श्रोत्रेशब्द इति प्रतीयेतप्रतीयते तु तत्रशब्द इति । तस्माद्यथानुभवं श्रोत्रस्यैव तत्रगमनं कल्यनीयम् । तदेवं भौतिकानि परिच्छिन्नानि प्राप्य-कारीणीन्द्रियाणि सन्तीति सिद्धम् । किं तर्हि मनोनामयस्मिन्नात्मत्वमपरे लौकायतिकैकदेशिनोमन्यन्ते । नित्यं निरव-यवमणुपरिमाणं मन इति तार्किकाः । तत्र न तावन्नित्यंपरिच्छिन्नत्वात् थटवत् । विमतं नित्यं निरवयवद्रव्यत्वात्आत्मवदिति चेत् न हेत्वसिद्धेः । विमतं सावयवङ्करणत्वाच्चक्षु-रादिवत् । अन्यथा मनसोऽन्नमयत्वं श्रुत्युक्तं बाध्येत । कथंतर्हि मूर्त्तद्रव्यानभिघात इति चेत् जीवनदशायांदेहाद्बहिर्निर्गमनाभावादिति ब्रूमः । मरणदशयां तुसावयवत्वेनाभिमतानां चक्षुरादीनामप्यप्रतिघातोविद्यत एव ।अतएव सावयवत्वात् संयोगवत्त्वाच्च घटादिवन्नाणुपरिमाण-त्वम् सर्वगतत्वेच युगपत् सर्वेन्द्रियसंयोगात् सर्वज्ञान-प्रसङ्गः । मध्यमपरिमाणत्वे तु न कोऽपि दोषः । स्थूल-सूक्ष्मेषु हस्तिपुत्रिकादिदेहेषु क्रमेण प्राप्यमाणेषु कथं तद्देहसमानत्वेन वृत्तिरिति चेत् अवयवोपचयापचयाभ्या-मिति ब्रूमः । शाक्यास्तु समनन्तरप्रत्ययएवोत्तरज्ञान-कारणतया मन इति प्रतिपेदिरे तन्न सङ्गतं व्याप्तिमनपेक्ष्यकेवलस्य पूर्वज्ञानस्योत्तरज्ञानजनकत्वायोगात् लिङ्गज्ञा-नस्य व्याप्तिसापेक्षस्यैव लिङ्गिज्ञानजनकत्वदर्शनात् ।शब्दज्ञानं व्याप्तिज्ञानमनपेक्ष्यैवार्थज्ञानजनकमिति चेत्न त्वन्मते शब्दस्यानुमानान्तः पातितयात्रापि व्याप्त्यपे-क्षत्वात् । विशेषणज्ञानं व्याप्त्यनपेक्षमेव विशिष्टज्ञान-जनकमिति चेत् न विशिष्टज्ञानस्य संप्रयोगजन्यत्वात् ।अथ समनन्तरातीतप्रत्ययः उत्तरज्ञानं न जनयति किंतु तस्याकारमात्रं समर्पयतीति चेत् न आकाराकारि-णोरभेदात् । आकारस्य स्वाभाविकतयाऽनन्यापेक्षितयाऽन्यापेक्षाभावात् । तस्मादन्यदेव सावयवं मन इति सिद्धम् ।ननु कश्चायं वास्तव आत्मा योदेहादिषु विज्ञानान्तेषु भ्रान्तै-र्वादिभिरारोप्यते । तत्र सर्वगतोऽयं जीव आत्मेति केचित्तदसत् । शुष्कतार्किकाणां साधकाभावात् । अथ मतं देहाद्बहि-रन्तः सर्वाणि भोगसाधनान्यात्मभोगायैव व्याप्रियन्तेतद्व्यापारश्चादृष्टवदात्मसंयोगापेक्षः । अतोऽसौ सर्वगत इति ।तत्र किं यस्मिन्नात्मप्रदेशेऽदृष्टं तत्प्रदेशसंयोगोऽपेक्ष्यते उतादृष्टोपलक्षितात्मसंयोगः । नाद्यः । देहावच्छिन्नात्मसमवे-तादृष्टस्य स्वर्गभोगाहेतुत्वात् । न द्वितीयः मोक्षेऽपिभोगप्रसङ्गात् । तस्मादागमादेव सर्वगतत्वसिद्धिः । नचाय-मात्मा जड़ः प्रत्यक्षानुमानागमैः स्वप्रकाशत्वावगमात् ।तच्च प्रत्यक्षं सौषुप्तमवगन्तव्यम् । अनुमानान्यपि आत्मा-स्वप्रकाशः स्वसत्तायां प्रकाशव्यतिरेकरहितत्वात् प्रदी-ववत् स वेदनवच्च तथा विषयप्रकाशकर्त्तृत्वात् प्रदीवपवत्,विषयप्रकाशाश्रयत्वादालोकवत् । अनिन्द्रियगोचरत्वेसति अपरोक्षत्वात् संवेदनवत् । अयमात्मा सति धर्मिणिअजन्यप्रकाशगुणः प्रकाशगुणत्वादादित्यवत् । आगमश्चात्र“अयं पुरुषः स्वयंज्योतिरित्यादिः । सचायमात्मा सर्व-शरीरेष्वेक एव सर्वत्राहमित्येकाकारप्रत्ययवेदनीयत्वात्गोत्ववत् । शरीराणां भिन्नत्वादेवातीतशरीरादाविव नभोगानुसन्धानप्रसङ्गः । ननु तर्ह्यस्यापि मनुष्यशरीरस्यप्रतिक्षणं परिणामभेदे सत्यत्रापि आत्मनोभोगाननुसन्धानंप्रसज्येतेति चेत् न तदेवेदं शरीरमिति प्रत्यभिज्ञयातदेकत्वावगमात् । न च ज्वालाप्रत्यभिज्ञावद्भ्रान्तत्वम्तत्र सूक्ष्मदर्शनेन प्रत्यक्षत एव ज्वालानां भेददर्शनात्अत्र तदभावात् । तदेवमेकः स्वप्रकाश आत्मेति सिद्धम् ।तमेतमात्मतत्त्वमवैदिका देहादिबुद्ध्यन्तपदार्थरूपत्वेन प्रति-पन्नाः मीमांसकादयस्तु तस्य देहादिव्यतिरेकं प्रति-पद्यापि कर्त्तारम्भोक्तारमिच्छन्ति । तदेतत् सांरव्या नसहन्ते । न तावदात्मनः कर्त्तृत्वं स्वाभाविकम् सर्वगतस्यनिरवयवस्यात्मनः परिष्पन्दपरिणामलक्षणक्रियावेशायो-गात् । स्वाभाविकत्वे चैतन्यवत् क्रियावेशो न कदाचि-दपि व्यभिचरेत् । नापि कर्त्तृत्वमागन्तुकं निरवयवेकर्त्तृत्वहेतूपरागायोगात् । नापि बुद्धेः कर्त्तृत्वमात्मन्या-रोपयितुं शक्यं अख्यातिवादे भ्रान्त्यभावात् । तस्मा-न्नास्ति कर्त्तृत्वम् । न चैवं भोक्तृत्वमपाकर्त्तुं शक्यम् ।न हि सुखदुःखान्वयोभोगः येन कर्त्तृत्ववत् व्यभिच-रेत् । किन्तु चिद्रूपत्वेन दृश्यसाक्षित्वम् । तस्माद्भो-क्तैवात्मेति सांख्यानां पक्षः । वैशेषिकयोगनैयायिकाःउक्ताद्भोक्तुर्जीवादतिरिक्तः सर्वज्ञः सर्वशक्तिः ईश्वरःकश्चिदस्तीत्यनुमिमते । विमतं जगत् स्वरूपोपादानाद्यभिज्ञकर्त्तृकं विविधकार्य्यत्वात् प्रासादादिवत् तत्रकल्पनालाघवेनैककर्त्तृत्वोपादानात् प्रर्वज्ञत्वादिसिद्धिरितिवैशेषिकाः । विमताः ज्ञानैश्चर्य्य शक्तयः क्वचित् पराङ्काष्ठाप्राप्ताः सातिशयत्वात् परिमाणवदिति योगाः । विमतंधर्म्माधर्म्मफलं कर्म तत्फलभोक्त्राद्यभिज्ञेन दीयते व्यव-हितकर्म्मफलत्वात् सेवाफलवदिति नैयायिकाः । नन्वीश्वरपक्षोपन्यासो न युक्तः यतोऽत्र जिज्ञास्ये प्रत्यगात्मरूपेब्रह्मणि विप्रतिपत्तिर्दर्शयितुं प्रक्रान्ता, नैषदोषः प्रत्यगात्मातस्मादीश्वरादन्योऽनन्योवेति प्रत्यगात्मविप्रतिपत्तावेव पर्य्य-वसानात्” इत्यन्तेन । प्रपञ्चस्तु चार्व्वाकादिशब्देवक्ष्यते । भाषापरिच्छेदे मुक्तावल्याञ्चात्मनिरूपणा-येत्थमभ्यधायि “आत्मेन्द्रियाद्यधिष्ठाता करणं हिसकर्त्तृकम् । शरीरस्य न चैतन्यं मृतेषु व्यभिचारतः ।तथात्वञ्चेदिन्द्रियाणामुपघाते कथं स्मृतिः । मनोऽपि न तथाज्ञानाद्यनध्यक्षं तदा भवेत् । धर्माधर्माश्रयोऽध्यक्षोविशेषगुणयोगतः । प्रवृत्त्याद्यनुमेयोऽयं रथगत्येव सारथिः ।अहङ्कारस्याश्रयोऽयं मनोमात्रस्य गोचरः । विभुर्बुद्द्यादि-गुणवान्” भाषा० । “आत्मानं निरूपयति आत्मेन्द्रि-येति आत्मत्वजातिस्तु सुखदुःखादिसमवायिकारणताव-च्छेदकतया सिध्यति ईश्वरेऽपि सा जातिरस्त्येव अदृष्टादि-रूपकारणाभावाच्च न सुखदुःखाद्युत्पत्तिः नित्यस्य स्वरूप-योग्यश्य फलावश्यम्भाव इति नियमस्याप्रयोजकत्वात् ।परे तु ईश्वरे सा जातिर्नास्त्येव प्रमाणाभावात् न चदशमद्रव्यत्वापत्तिः ज्ञानवत्त्वेन विभजनादिति वदन्ति ।इन्द्रियादीति । इन्द्रियाणां शरीरस्य च परम्परयाचैतन्यसम्पादकः । यद्यप्यात्मनि “अहं जाने अहंसुखीत्यादि” प्रत्यक्षविषयत्वमस्त्र्येव तथापि विप्रतिपन्नप्रति प्रथमत एव शरीरादिभिन्नस्तत्प्रतीतिगोचर इतिप्रतिपादयितुं न शक्यत इत्यतः प्रमाणं दर्शयतिकरणमिति । कुठारादीनां छिदादिकरणानां कर्त्तारमन्तरेणफलानुपधानं दृष्टम् एवं चक्षुरादीनां क्षानकरणानां फलीपधानमपि कर्त्तारमन्तरेण नोपपद्यत इत्यतिरिक्तः कर्त्ताकल्प्यते । ननु शरीरस्यैव कर्त्तृत्वमस्तु अत आह शरींर-स्येति ननु चैतन्यं ज्ञानादिकमेव मुक्तात्मनां तन्मत इवमृतशरीराणामपि तदभावे का क्षतिः प्राणाभावेनज्ञानाभावस्य सिद्धेरिति चेन्न शरीरस्य चैतन्ये बाल्येविलोकितस्य स्थाविरे स्मरणानुप्रपत्तेः शरीराणामवयवो-पचयापचयैरुत्पादविनाशशालित्वात् न च पूर्व्वशरी-रोत्पन्नसंस्कारेण द्वितीयशरीरे संस्कार उपपद्यत् इतिवाच्यम् अनन्तसंस्कारकल्पने गौरवात् एवं शरीरस्यचैतन्ये बालकस्य स्तनपानादौ प्रवृत्तिर्न स्यात् इष्टसाधन-ताज्ञानस्य तद्धेतुत्वात्तदानीमिष्टसाधनतास्मारकाभावात्मन्मते जन्मान्तरानुभूतेष्टसाधनत्वस्य तदानीं स्मरणादेवप्रवृत्तिः न च जन्मान्तरानुभूतमन्यदपि स्मर्य तामितिवाच्यम् उद्बोधकाभावात् अत्र त्वनायत्या जीवनादृष्ट-मेवोद्बोधकं कल्प्यते इत्थञ्च संस्कारस्यानादितयाआत्मनोऽपि अनादित्वसिद्धौ अनादिभावस्य नाशासम्भ-वात् नित्यत्वं सिध्यतीति बोध्यम् । ननु चक्षुरादींनां ज्ञा-नादौ करणत्व कर्त्तृत्वं चास्तु विरोधे साधकाभावादतआह तथात्वमिति चैतन्यमित्यर्थः उपघाते नाशे सतिअर्थाच्चक्षुरादीनामेव, कथमिति? पूर्ब्बं चक्षुषा साक्षात्-कृतानाञ्चक्षुषोऽभावे स्मरणं न स्यात् अनुभवितुरभावात्अन्यदृष्टस्य अन्येन स्मरणासम्भवात् अनुभवस्मरणयोःसामानाधिकरण्येन कार्यकारणभावादिति भावः ।ननु चक्षुरादीनां चैतन्यं मास्तु मनसस्तु नित्यस्य चैतन्यंस्यात् अत आह मनोऽपीति न तथा न चेतनम् ।ज्ञानादीति । मनसोऽणुत्वात् प्रत्यक्षे च महत्त्वस्य हेतुत्वा-न्मनसो ज्ञानसुखादिमत्त्वे तत्प्रत्यक्षानुपपत्तेरित्यर्थः यथामनसोऽणुत्वं तथा वक्ष्यते । नन्वस्तु विज्ञानमेव आत्मातस्य स्वतः प्रकाशरूपत्वात् चेतनत्वं ज्ञानमुखादिकन्तुतस्यैवाकारविशेषः तस्यापि भावत्वादेव क्षणिकत्वं पूर्व्व-विज्ञानस्योत्तरोत्तरविज्ञाने हेतुत्वात् सुषुप्तावालयविज्ञान-धारा निराबाधैव मृगमदवासनाया वसनैव पूर्ब्बपूर्ब्ब-विज्ञानजनितसंस्काराणामुत्तरोत्तरविज्ञाने संक्रान्तत्वा-न्नानुपपत्तिः स्मरणादेरिति चेन्न तस्य जगद्बिषयत्वेसार्व्वज्ञ्यापत्तेः यत्किञ्जिद्विषयत्वे विविगमनाभावात्सुषुप्तावपि विषयावभासप्रसङ्गः । तदानीं निराकाराचित्सन्ततिरनुवर्त्तत इति चेन्न तस्य खप्रकाशत्वे प्रमाणा-भावात् अन्यथा घटादीनामपि ज्ञानत्वापत्तिः न चेष्टा-पत्तिः विज्ञानव्यतिरिक्तवस्तुनोऽभावादिति वाच्यंषटादेरनुभूयमानस्यापलपितुमशक्यत्वात् । आकारविशेषएवायं विज्ञानस्येति चेत् किमयमाकारोऽतिरिच्यते विज्ञाना-सर्हि समायातं विज्ञानव्यतिरिक्तेन । नातिरिच्यते चेत्तर्हिसमूहावलम्बने नीलाकारोऽपि पीताकारः स्यात् स्वरूपतो-विज्ञानस्याविशेषात्, अपोहरूपो नीलत्वादिर्विज्ञानधर्म्मइति चेन्न नीलत्वादीनां विरुद्धानामेकस्मिन्नसमावेशात्इतरथा विरोधस्यैव दुरुपपन्नत्वात् । न च वासनासंक्रमःसम्भवति मातृपुत्रयारपि वासनासंक्रमप्रसङ्गात् न चउपादानोपादेयभावो नियामक इति वाच्यं वासनायाःसंक्रमासंमवात् । उत्तरस्मिन्नुत्पत्तिरेव संक्रम इति चेन्नतदुत्पादकाभावात् । उत्तरविज्ञानस्यैव उत्पादकत्वेतदानन्त्यप्रसङ्गः । क्षणिकविज्ञानेऽतिशयविशेषः कल्प्यत इतिचेन्न मानाभावात् कल्पनागौरवाच्च । एतेन क्षणिकशरीरेष्वेवचैतन्यमपि प्रत्युक्तं गौरवादतिशये मानाभावाच्च वीजा-दावपि सहकारिसमवधानादेवोपपत्तेः कुर्व्वद्रूपत्वाकल्पनाच्चअस्तु तर्हि क्षणिकविज्ञाने गौरवान्नित्यविज्ञानमेवात्मा“अविनाशी वा अरे अयमात्मा सत्यं ज्ञानमनन्तं ब्रह्म”इत्यादि श्रुतेरिति चेन्न तस्य विषयत्वासम्भवस्य दर्शित-त्वात् निर्व्विषयस्य ज्ञानत्वे मानाभावात् सविषयत्वस्या-प्यनुभवात् । अतो ज्ञानभिन्नो नित्य आत्मेति सिद्धम् ।सत्यं ज्ञानमिति ब्रह्मपरं जीवेषु नोपयुज्यते ज्ञाना-ज्ञानसुखित्वदुःखित्वादिभिर्जीवानां भेदसिद्धौसुतरामीश्वरभेदः, अन्यथा बन्धमोक्षानुपपर्त्तेः, योऽपीश्वराभेद-बोधकोवेदः सोऽपि तदभेदेन तदीयत्वं प्रतिपादयन्स्तौति अभेदभावने च यतितव्यमिति वदति । अतएव“सर्व्व एव आत्मनि समर्पिता” इति श्रूयते मोक्षदशा-यामज्ञाननिवृत्तावभेदो जायते इत्यपि न, भेदस्य नित्यत्वेनाशायोगात् भेदनाशेऽपि व्यक्तिद्वयं स्थास्यत्येव । न चद्वित्वमपि नश्यतीति वाच्यं तत्र निर्द्धर्मके ब्रह्मणिसत्यत्वाभावेऽपि सत्यस्वरूपं तदितिवत् द्वित्वाभावेऽपिद्वयात्मकौ ताविति सुवचत्वात् मिथ्यात्वाभावीऽधिकरणा-त्मकस्तत्र सत्यत्वमिरि चेत् एकत्वासावो व्यक्तिद्वयात्मकोद्वित्वमप्युच्यतां प्रत्येकमेकत्वेऽपि पृथिवीजलयोर्न गन्धइतिवदुभयं नैकमित्यस्य सर्वजनसिद्धत्वात् । योऽपितदानीमभेदप्रतिपादक आगमः सोऽपि निर्दुःखत्वादिना साम्यंप्रतिपादयति संपदाधिक्ये पुरोहितोऽयं राजा संवृत्त इतिवत् । अतएव “निरञ्जनः परमं साम्यमुपैति दिव्यमिति” श्रूयतेईश्वरो न ज्ञानसुखात्मा किन्तु ज्ञानाद्याश्रयः नित्यं विज्ञा-नमानन्दं ब्रह्म” इत्यादौ विज्ञानपदेन ज्ञानाश्रय एवोक्तः,“यः सर्वज्ञः” इत्यनुरोधात् आनन्दम् इत्यस्यापिआनन्दवदित्यर्थः अर्श आदित्वान्मत्वर्थीयाच्प्रत्ययात्, अन्यथापुंलिङ्गत्वापत्तेः आनन्दोऽपि दुःखाभावे उपचर्य्यते भारा-द्यपगमे सुखी संवृत्तोऽहमितिवत् दुःखाभावेन सुखित्वप्र-त्ययात् । अस्तु वा तस्मिन्नानन्दो न त्वसौ, आनन्दम् इत्यत्रमत्यर्थीयप्रत्ययविरोधात् । “आनन्दं ब्रह्मणो विद्यान्नबिभेति कदाचन” इत्यत्र भेदस्य स्पष्टत्वाच्चेति संक्षेपः । एतेनप्रकृतिः कर्त्री पुरुषः पुष्करपलाशवन्निर्लेपः किन्तु चेतनःकार्य्यकारणयोरभेदात् कार्य्यनाशे कार्य्यरूपतया नाशःस्यादित्यकारणत्वं तस्य, वुद्धिगतचैतन्याभिमानान्यथानुपपत्त्यातत्कल्पनम् । वुद्धिश्च प्रकृतेः प्रथमः परिणामः । सैवमहत्तत्त्वमन्तःकरणमप्युच्यते । तत्सत्त्वासत्त्वाभ्यां पुरुषस्यसंसारापवर्गौ । तस्या एवेन्द्रियप्रणालिकया परिणतिर्ज्ञानरूपा घटादिना सम्बन्धः । पुरुषे कर्तृ त्वाभिमानो बुद्धौचैतन्याभिमानश्च भेदाग्रहात् ममेदं कर्त्तव्यमिति मदंशःपुरुषोपरागो बुद्धेः स्वच्छतया चेतनप्रतिविम्बादतात्त्विकोदर्पणस्येव मुखोपरागः । इदमिति विषयोपरागः इन्द्रिय-प्रणालिकया परिणतिभेदस्तात्त्विको निश्वासाभिहतदर्पणस्येवमलिनिमा । कर्त्त व्यमिति व्यापारावेशः । तेनांशत्रयवतीबुद्धिस्तत्परिणामेन ज्ञानेन पुरुषस्यातात्त्विकः सम्बन्धोदर्पणमलिनिम्नेव मुखस्योपलब्धिरुच्यते । ज्ञानादिवत्सुखदुःखेच्छाद्वेषप्रयत्नधर्म्माधर्म्मा अपि बुद्धेरेव । कृतिसामाना-धिकरण्येन प्रतीतेः । न च बुद्धिश्चेतना परिणामित्वादितिसांख्यमतमपास्तम् । कृत्यदृष्टभोगानामिव चैतन्यस्यापिसामानाधिकरण्यप्रतीतेस्तद्भिन्ने मानाभावाच्चेतनोऽहंकरोमीति प्रतीतेः । बुद्धेः परिणामित्वाच्चैतन्यांशे भ्रम इतिचेत् कृत्यशे किं नेष्यते । अन्यथा बुद्धेर्नित्यत्वे मोक्षाभावो-ऽनित्यत्वे तत्पूर्ब्बमसंसारापत्तिः । अचेतनायाः प्रकृतेःकार्य्यत्वात् बुद्धेरचैतन्यं कार्य्यकारणयोस्तादात्म्यादितिचेन्न असिद्धेः कर्त्तुर्जन्यत्वे मानाभावात् । “वीतराग-जन्मादर्शनात्” अनादित्वम् । अनादेर्नाशासम्भवान्नित्यत्वम् ।तत् किं प्रकृत्यादिकल्पनेन । न च “प्रकृतेः क्रियमाणानिगुणैः कर्म्माणि सर्वशः । अहङ्कारविमूढ़ात्मा कर्त्ताह-मिति मन्यते” इत्यनेन विरोध इति वाच्यम् प्रकृतेर-दृष्टस्य गुणैरदृष्टजन्यैर्गुणैः इच्छादिभिः कर्त्ताहं कर्त्ताहमेवइत्यस्य तदर्थत्वात् “तत्रैवं सति कर्त्तारमात्मानं केवलं तुयः” इत्यादि वदता भगवता प्रकटीकृतोऽयमुपरिष्टादाशयइति संक्षेपः । धर्म्माधर्म्माश्रयः इति । आत्मेत्यनुषज्यते ।शरीरस्य तदाश्रयत्वे देहान्तरकृतकर्म्मणां देहान्तरेण भोगा-नुपपत्तिः । विशेषगुणयोगत इति । योग्यविशेषगुण-सम्बन्धेनात्मनः प्रत्यक्षं भवति न त्वन्यथा अहं जानेअहङ्करोमि इत्यादि प्रतीतेः । प्रवृत्तीति । अयमात्मापरदेहादौ प्रवृत्त्यादिनाऽनुसीयते । प्रघृत्तिरत्र चेष्टाज्ञानेच्छाप्रयत्नादीनां देहे अभावस्योक्तप्रायत्वात् चेष्टायाश्चयत्नसाध्यत्वात् चेष्टया प्रयत्नवानात्माप्यनुमीयत इतिमावः । तत्र दृष्टान्तमाह । रथेति यद्यपि रथकर्म्म चेष्टान भवति तथापि तेन कर्म्मणा सारथिर्यथाऽनुमीयते तथाचेष्टात्मकेन कर्म्मणा परात्मापीति भावः । अहङ्कारस्येति ।अहङ्कारोऽहमिति प्रत्ययः तस्याश्रयो विषयः आत्मा नशरीरादिरिति । मन इति मनोभिन्नेन्द्रियजन्यप्रत्यक्षाविषयोमानसप्रत्यक्षविषयश्चेत्यर्थः । रूपाद्यभावेनेन्द्रियान्तरायोग्य-त्वात् । विभुरिति । विभुत्वं परममहत्त्वं तच्च पूर्ब्बोक्त-मपि स्पष्टार्थमुक्तम् । बुद्ध्यादीति बुद्धिसुखदुःखेच्छादयश्चतु-र्दश गुणाः पूर्ब्बोक्ता वेदितव्याः” । ते च “बुद्ध्यादिषट्कंसंख्यादिपञ्चकं भावना तथा । घर्म्माधर्म्मौ गुणा एतेआत्मनः स्युश्चतुर्द्दश” इत्युक्ताः बुद्धिः सुखं दुःखमिच्छा-द्वेषः यत्नःसंख्या परिमाणं पृथक्त्वं संयोगः विभागःभावनाख्यसंस्कारः धर्मः अधर्म्मश्चेति । एते च गुणा मनसएवेति सांख्यादयः । “कामः संकल्पोचिविकित्सा श्रद्धाऽश्रद्धाधृतिरधृतिह्रीर्धीर्भीरित्येतत् सर्वं मनएवेति” श्रुतेः कामा-दीनां मनोधर्मत्वावगमात् तथा ६४३ पृष्ठे आज्ञानशब्दोदिताअपि । मिता० “किं पुनर्वैषयिकज्ञानेन्द्रियव्यतिरिक्तात्मसद्भावेप्रमाणमित्याशङ्क्याह । “महाभूतानि सत्यानि यथात्मापितथैव हि । कोऽन्यथैकेन नेत्रेण दृष्टमन्येन पश्यति । वाचंवा कोविजानाति पुनः संश्रुत्य संश्रुताम्” या० स्मृ० । “यथाहि पृथिव्यादिमहाभूतानि सत्यानि प्रमाणप्राप्तत्वात्तथा-त्मापि सत्यः, अन्यथा यदि बुद्धीन्द्रियव्यक्तिरिक्तोज्ञाताध्रुवो न, तर्ह्येकेन चक्षुरिन्द्रियेण दृष्टं वस्त्वन्येन स्पर्शनेन्द्रि-येण को विजानाति । यमहमद्राक्षन्तमहं स्पृशामीति ।तथा कस्यचित्पुरुषस्य वाचं पूर्वं श्रुत्वा पुनः श्रूयमाणांवाचन्तस्य वागियमिति कः प्रत्यभिजानाति तस्मात्ज्ञानेन्द्रियाद्यतिरिक्तो ज्ञाता ध्रुव इति सिद्धम् किञ्च!“अतीतार्था स्मृतिः कस्य कोवा स्वप्नस्य कारकः । जाति-रूपवयोवृत्तविद्यादिभिरहंकृतः । शब्दादिविषयोद्योगङ्क-र्म्मणा मनसा गिरा” या० । “यद्यात्मा ध्रवो न स्यात्तर्ह्यनुभूतार्थगोचरा स्मृतिः पूर्वानुभवभावितसंस्कारोद्बोधनि-बन्धना कस्य भवेत्, नह्यन्येन दृष्टे वस्तुन्यन्यस्य स्मृतिरुप-पद्यते । तथा कः स्वप्नज्ञानस्य कारकः । नहीन्द्रियाणाम्उपरतव्यापाराणान्तत्कारकत्वम् । तथाहमेवाभिजनत्वादिसम्पन्न इत्येवंविधानुसन्धानप्रत्ययः कस्य भवति स्थिरात्म-व्यतिरिक्तस्य” तथा ब्दस्पर्शादिविषयोपभोगसिद्ध्यर्थमुद्योगंमनोवाक्कायैः कःकुर्यात्तस्मादपि बुद्धीन्द्रियव्यतिरिक्त आत्मा-स्थिरः” इत्यन्तेन आत्मविवेक्ते च उदयनाचार्यैः अहमितिप्रत्यक्षविषयत्वमादौ आत्मनोव्यवस्थाप्य देहाद्यतिरिक्तविषयत्वंतत्प्रत्ययस्य व्यवस्थापितं यथा ।“अथात्मसद्भावे किम्प्रमाणं प्रत्यक्षमेव तावत् अहमिति विःकल्पस्य प्राणभृन्मात्रसिद्धतात् । नचायमवस्तुकः सन्दिग्धवस्तुकोवा, अशाब्दत्वादप्रतिक्षेपाच्च न च लैङ्गिकः, अननुसं-तलिङ्गस्यापि संप्रत्ययात् । नच स्मृतिरियम्, अननुभूतेतदनुपपत्तेः । अनादिवासनावशादनादिरयमवस्तुकोवि-कल्पैत्यपि न युक्तं, नीलादिविकल्पसाधारण्यात् । इहवासनामुपादायानाश्वासे प्रमाणान्तरेऽपि कः समाश्वासः,यतो नीलादिविकल्पेषु समाश्वासःस्यात् । तस्माद्वासनामात्रवादं विहायागन्तुकमपि किञ्चित् कारणं वाच्यम् ।तच्चाप्तानाप्तशब्दौ वा लिङ्गतदाभासौ वा प्रत्यक्षतदाभासौवेति । तत्र यथा प्रथममध्यमप्रकाराभावान्नीलविकल्पश्चरमं कल्पमालम्बते तथाऽहमिति विकल्पोऽपि, तत्रापि“प्रत्यक्षपृष्ठभावित्वे साक्षादेव सवस्तुकः । तदाभासे तुमूलेऽस्य पारम्पर्व्यात् सवस्तुतेति” । न च बाह्यपत्यक्षनि-वृत्तावेव निर्मूलत्वं, बुद्धिविकल्पस्यापि तथात्वप्रसङ्गात् । तत्रस्वसंवेदनं मूलम्, इहापि मानसप्रत्यक्षमिति न कश्चिद्वि-शेषः । शरीरादिवस्तुको भविष्यतोति चेन्न निरुपाधिशरीरे-न्द्रियबुद्धितत् समुदायालम्बनत्वेऽतिप्रसङ्गात् । स्वसम्बन्धि-शरीरादावयं स्यादिति वाच्यं तत्र कः स्वीयैति वचनीयम् ।अनन्यत्वं स्वत्वं सर्वभावानां, तथा च यदा तेनैव तदनुभूयतेतदा प्रत्येतुः प्रत्येतव्यादव्यतिरेकादहमिति स्यात् । अतएवघटादयोन कदाचिदनन्यानुभवितृका इति न कदाप्यहमा-स्पदमिति चेत् एवन्तर्हि त्वन्मतेऽप्यहंप्रत्ययः शरीरादावारो-परूपएव ततः प्रत्येतुरन्यत्वात् । बुद्धौ मुख्यएवेति चेन्न तस्याःक्रियात्वेनानूभूयमानाया भिन्नस्य कर्त्तुरहंछिनद्मीतिव-दहं जानामीत्यनुभवात् । नीलादिप्रत्येतव्याकारवत् प्रति-पत्त्राकारोऽपि प्रतिपत्तेरेवायमात्मा तथा भासत इतिचेत् तर्हि प्रत्येतव्यप्रतिपत्त्राकारयोस्तुल्ययोगक्षेमत्वात् सिद्धंनः समीहितम् । अस्तु स्वोपादानमात्रमिति चेन्न तत्प्र-तिभासने तदाकारस्यापि प्रतिभासप्रसङ्गात् आकारमन्तरे-णाकारिणोऽनवभासात् । प्रवृत्तिसन्तानान्नान्योबुद्धिसन्तानःप्रतिपत्ता, वयं तमालयविज्ञानमाचक्ष्मह इति चेत् अस्तुतर्हि प्रवृत्तिविज्ञानोपादानमनादिनिधनः प्रतिपत्ता । सकिं सन्तन्यमानज्ञानरूपः तद्विपरीतोवा इति चिन्तावशि-ष्यते निःशेषिता चासौ प्रागिति” । स्थानान्तरे च तत्रैव“ननु सिद्धमिदं विशेषणं देहस्यैव चेतनत्वात् मैवं देहत्वभू-तत्वमूर्त्तत्वरूपादिमत्त्वादिभ्यः । नच भूतानां समुदायपर्य्यवसितं चैतन्यं, प्रतिदिनं तस्यान्यत्वे पूर्वपूर्वानुभूतस्यास्मरणप्रसङ्गात् । नच प्राक्पर्यवसितं, करचरणाद्यवयवविगमेतदनुभूतस्यास्मरणप्रसङ्गात् । देहस्य चेतनत्वे बालस्य प्रथमम-प्रवृत्तिप्रसङ्गाच्च इच्छाद्वेषावन्तरेण प्रयत्नानुपपत्तेः इष्टाभ्यु-पायताप्रतिसन्धानं विना चेच्छानुपपत्तेः । इह जन्मन्यननुमूतस्य प्रतिबन्धस्यास्मृतौ प्रतिसन्धानायोगात्, जन्मान्त-रानुभूते चानुभवितरि भस्मासाद्भूते अन्येन स्मरणायो-गात् अनुभवादोनां प्रवृत्त्यन्तानाञ्च कार्य्यकारणभावस्यइहैव जन्मनि निश्चितत्वात् । तथा च तदभावे तदभावस्यसुलभत्वात् अन्यथा स्वतस्त्वप्रसङ्गः । अतएव नेन्द्रियाणिचेतयन्ते दर्शनस्पर्शनाभ्यामेकार्थग्रहणाच्च । नच मनस्तथा, तस्यकरणत्वेनैवानुभवादिति प्रतिबन्धसिद्धिः परदेह्यात्मसिद्धिश्च ।अनादिश्चासौ वीतरागजन्मादर्शनात्, अनन्तश्च सतोऽनादित्वात्, द्रव्यञ्च समवायिकारणत्वात्, विभुश्च नित्यद्रव्यत्वेसत्यमूर्त्तत्वात्, अमूर्त्तश्च निष्क्रियत्वात्, निष्क्रियश्च नित्यद्रव्यत्वे सत्यस्मदादिप्रत्यक्षत्वात्, प्रत्यक्षधर्म्माश्रयत्वाच्च । तर्काश्चात्र भवन्ति आदिमत्त्वे प्रथमप्रवृत्त्यनुपपत्तौ सर्वदैवाप्रवृ-त्तिप्रसङ्गः । सान्तत्वेऽनादेः सत्त्वानुपपत्तिप्रसङ्गः । अद्रव्यत्वनिर्गुणत्वप्रसङ्गः अविभुत्वे दहनपवनादेः क्रियानुपपत्तिप्र-सङ्गः । नच संयुक्तसंयोगात् तदुत्पत्तिः साक्षात्क्रियाद्वारकस्यतस्याभावात् अतथाभूतस्य तद्धेतुत्वेऽतिप्रङ्गात् । मूर्त्तत्वेनित्र्यस्यास्मदादिप्रत्यक्षधर्म्मानाधारत्वप्रसङ्गः विशेषगुणवत-श्चारम्भकत्वप्रसङ्गः, सक्रियत्वे मूर्त्तत्वप्रसङ्ग इति शास्त्रार्थसंग्रहः । अणुरेवासौ विज्ञानाससवायिकारणसंयोगाधार-त्वात् मनोवत् “अणीयांसमणोरपीति” बाधविरोधावितिकश्चित् तदयुक्तम् आत्मन्यविभौ मनसोऽणुत्वाद्ध्हेतोः तत्सं-योगक्रमादेव क्रियाक्रमोपपत्तेः आगमस्तु “महतोऽपिमहीयांसमिति” प्रथमपदमपहाय उपन्यस्तस्तदलमित्यन्तेन” ।स्कन्धपञ्चकस्यात्मत्मवादिनां मतं संघातानुत्पत्त्या शा० सू०भा० निराकृतम् यथा “समुदाय उभयहेतुकेऽपि तदप्राप्तिः”सू० “तत्रैते त्रयोवादिनो भवन्ति । केचित् सर्व्वास्तित्ववादिनः केचिद्विज्ञानास्तित्वसात्रवादिनः अन्ये पुनःसर्ब्बशून्यत्ववादिनः इति । तत्र ये सर्ब्बास्तित्ववादि-नोबाह्यमान्तरञ्च वस्त्वभ्युपगच्छन्ति भूतं मौतिकं चित्तंचैत्तञ्च तान् तावत् प्रति ब्रूमः । तत्र भूतं पृथिवीधा-त्वादयः । भौतिकं रूपादयश्चक्षुरादयश्च चतुष्टये च पृथि-व्यादिपरमाणवः खरस्नेहोष्णप्रेरणस्वभावाः ते पृथि-व्यादिभावेन संहन्यन्त इति मन्यन्ते तथा रूपविज्ञान-वेदनासंज्ञासंस्कारसंज्ञकाः पञ्च स्कन्धाःतेऽप्यध्यात्मं सर्व्व-व्यवहारास्पदभावेन संहन्यन्ते इति मन्यन्ते । तत्रेद-मभिधीयते । योऽयमुभयहेतुक उभयप्रकारः समुदायःपरेषामभिप्रेतोऽणुहेतुकश्च भूतभौतिकसंहतिरूपः पञ्च-स्कन्धहेतुकश्च पञ्चस्कन्धरूपः । तस्मिन्नुभयहेतुकेऽपिसमुदायेऽभिप्रेयमाणे तदप्राप्तिः स्यात् समुदायाप्राप्तिःसमुदायिनामचेतनत्वात् चित्ताभिज्वलनस्य च समुयसि-द्ध्यधीनत्वात् अन्यस्य च कस्यचिच्चेतनस्य भोक्तुः प्रशासितु-र्व्वा स्थिरस्य संहन्तुरनभ्युपगमात् निरपेक्ष प्रवृत्त्यत्युपगमे चप्रवृत्त्यनुपरमप्रसङ्गात् । आशयस्याप्यन्यत्वानन्यत्वाभ्यामनिरू-प्यत्वात् क्षणिकत्वाभ्युपगमाच्चनिर्व्यापारत्वात् तत्प्रवृत्त्यनुप-पत्तेः तस्मात् समुदायानुपपत्तिः । समुदायानुपपत्तौ चतदाश्रया लोकयात्रा लुप्येत । “इतरेतरप्रत्ययत्वादितिचेन्नोत्पत्तिमात्रनिमित्तत्वात्” सू० । यद्यपि भोक्ता प्रशा-सिता वा कश्चिच्चेतनः संहन्ता स्थिरोनाभ्युपगम्यतेतथाप्यविद्यादीनामितरेतरकारणत्वादुपपद्यते लोकयात्रा तस्या-ञ्चोपपद्यमानायां न किञ्चिदपरमपेक्षितव्यमस्ति । तेचाविद्यादयः अविद्या संस्कारोविज्ञानम् नाम रूपं षड़ा-यतनम् स्पर्शोवेद ना तृष्णीपादानम् भवोजातिर्जरा मरणंशोकः परिवेदना दुःखं दुर्मनस्तेत्येवम् जातीयका इतरे-तरहेतुकाः सौगते समये क्वचित् संक्षिप्ता निर्दिष्टाः क्वचित्प्रपञ्चिताः । सर्व्वेषामप्ययमघिद्यादिकलापोऽप्रत्या-ख्येयः । तदेवमविद्यादिकलापेऽपि परस्परनिमित्तनैमित्तिकभावेन घटीयन्त्रवदनिशमावर्त्तमानेऽर्थाक्षिप्तउपपन्नः संघात इति चेत्तन्न कस्मात्? उत्पत्तिमात्रनिमित्तत्वात् । भवेदुपपन्नः संघातो यदि संघातस्यकिञ्चिन्निमित्तमवगम्येत न त्ववगम्यते यत इतरेरेतरप्रत्य-यत्वेऽप्यविद्यादीनां पूर्ब्बं पूर्ब्बमुत्तरस्योत्तरस्योत्पपत्तिमात्रनिमित्तं भवत् भवेत् न तु संघातोत्पत्तेः किञ्चिन्निमित्तंसम्भवति । नन्वविद्यादिभिरर्थादाक्षिप्यते संघात इत्युक्तम्अत्रोच्यते । यदि तावदयमभिप्रायः अविद्यादयएवसंघातमन्तरेणात्मानमलभमाना अपेक्षन्ते संघातमितिततस्तस्य संघातस्य किञ्चिन्नितित्तं वक्तव्यं तच्च नित्येष्वप्यणुष्वभ्युपगम्यमानेष्वाश्रयाश्रयीभूतेषु च भोक्तृषुसत्सु न सम्भवतीत्युक्तं वैशेषिकपरीक्षायां किमङ्ग पुनःक्षणिकेष्वप्यणुषु भोक्तृ रहितेष्वाश्रयाश्रयीभावशूम्येषु चा-भ्युपगम्यमानेषु सम्भवेत् । अथायमभिपायः अविद्या-दय एव संघातस्य निमित्तमिति । कथं तमेवाश्रित्यात्मा-नं लभमानास्तस्यैव निमित्तं स्युः । अथ मन्यसे संघातएवानादौ संसारे सन्तत्यानुवर्त्तते तदाश्रयाश्चाविद्या-दय इति । तदापि संघातात् संघातान्तरमुत्पद्यमानंनियमेन सदृशमेवेत्पद्येत अनियमेन वा सदृशम्, विसदृशंवोत्पपद्येत । नियमाभ्युपगमे मनुष्यपुद्गलस्य देवतिर्य-ग्योनिनारकप्राप्त्यभावः प्राप्नुयात् । अनियमाभ्युपग-मेऽपि मनुष्यपुद्गलः कदाचित् क्षणेन हस्ती भूत्वा देवो-वा पुनर्मनुष्योभवेत् इति प्राप्नुयात् । उभयमभ्युपगम-विरुद्धम् । अपि च यद्भोगार्थं संघातः स्यात् स जीवोनास्तिस्थिरोभोक्तेति तवाभ्युपगमः ततश्च भोगो भोगार्थएवसन्नाऽन्येन प्रार्थनीयः तथा मोक्षोमोक्षार्थ एवेति मुमुक्षुणानान्थेन भवितव्यम् । अन्येन चेत् प्रार्थ्येतोभयं, भोगमोक्षकालावस्थायिना तेन भवितव्यम् । अवस्थायित्वे क्षणि-कत्वाभ्युपगमविरोधः । तस्मादितरेतरोत्पत्तिमात्रनिमित्त-त्वमविद्यादीनां यदि भवेत् भवतु नाम न तु संघातःसिध्येत् भोक्त्रभावादित्यभिप्रायः इत्यन्तेन” । एतन्मतमनुसृत्यैव “सर्व्वकार्य्यशरीरेषु मुक्त्वाङ्गस्कन्धपञ्चकम् ।सौगतानामिवात्मान्यीनास्ति मन्त्रोमहीभृता मिति” माघः ।आत्मनो देहपरिमाणत्वमार्हता मन्यन्ते । तदेतन्मतमुत्थाप्यदूषितं शा० सू० भा० यथा । “एवं चात्माकात्र्स्न्यम्”सू० । “यथैकस्मिन् धर्म्मिणि विरुद्धधर्मासम्भवोदोषःस्याद्वादे प्रसक्तः एवमात्मनोऽपि जीवस्याकात् र्स्न्य-मपरोदोषः प्रसज्यते । कथं शरीरपरिमाणोहि जीव इत्यार्हता मन्यन्ते । शरीरपरिमाण-तायाञ्च सत्यामकृत् स्नोऽसर्व्वगतः परिच्छिन्नआत्मेत्यतो घटादिवदनित्यत्वमात्मनः प्रसज्येत । शरीराणा-ञ्चानवस्थितपरिमाणत्वान्मनुष्यजीवोमनुष्यशरीरपरिमाणो-भूत्वा पुनः केनचित् कर्म्मविपाकेन हस्तिजन्म प्राप्नु-वन्न कृत्स्नं हस्तिशरीरं व्याप्नुयात् पुत्तिकाजन्म चप्राप्नुवन्न कृत्स्नः पुत्तिकाशरीरे संमीयते । समान एषएकस्मिन्नपि जन्मनि कौमारयौवनस्थाविरेषु दोषः ।स्यादेतत् अनन्तावयवोजीवस्तस्य तएवावयवा अल्पेशरीरे सङ्कुचेयुर्महति विकसेयुरिति । तेषां पुनरनन्तानांजीवावयवानां समानदेशत्वं प्रतिहन्येत वा न वेतिवक्तव्यम् । प्रतिघाते तावन्नानन्तावयवाः परिच्छिन्ने देशेसम्मीयेरन् । अप्रतिघातेऽप्येकावयवदेशत्वोपपत्तेः सर्व्वेषाम-वयवानां प्रथिमानुपपत्तेजीर्वस्याणुमात्रत्वप्रसङ्गः स्यात् ।अपि च शरीरमात्रपरिच्छिन्नानां जीवावयवनामानन्त्यंनोत्प्रेक्षितुमपि शक्यम् । अथ पर्य्यायेण वृहच्छरीर-प्रतिपत्तौ केचिज्जीवावयवा उपगच्छन्ति तनुशरीरप्रतिपत्तौच केचिदपगच्छन्तीत्युच्येत । तत्राप्युच्यते । “न च पर्य्या-यादस्याप्यविरोधोविकारादिभ्यः” सू० । न च पर्य्यायेणाप्यव-यवोपगमापगमाभ्यामेव तत्तद्देहपरिमाणत्वं जीवस्याविरो-धेनोपपादयितुं शक्यते कुतः? विकारादिदोषप्रसङ्गात् ।अवयवोपगमापगमाभ्यां ह्यनिशमापूर्य्यमाणस्योपक्षीयमाणस्य च जीवस्य विक्रियावत्त्वं तावदपरिहार्य्यं विक्रि-यावत्त्वे चर्म्मादिवदनित्व्यत्वं प्रसज्येत ततश्च बन्धमो-क्षाभ्युपगमोबाध्येत कर्म्माष्टकपरिवेष्टितस्य जीवस्यालाबु-वत् संसारसागरे निमग्नस्य बन्धनोच्छेदादूर्द्धगामित्वम्भवतीति । किञ्चान्यत् आगच्छतामपगच्छतां चावयबाना-मागमापायधर्म्मवत्तादेवानात्मत्वं शरीरादिवत् । ततश्चा-वस्थितः कश्चिदवयव आत्मेति स्यात् । न च सनिरूपयितुं शक्यते अयमसाविति । किञ्चान्यत् आगच्छ-न्तश्चैते जीवावयवाः कुतः प्रादुर्भवन्ति, अपगच्छन्तश्च क्ववा लीयन्त इति वक्तव्यम् । न हि भूतेभ्यः प्रादुर्भवेयुःभूतेषु च निलीयेरन्, अभौतित्वाज्नीवस्य । नापि कश्चिदन्यःसाधारणोऽसाधारणो वा जीवानामवयवाधारो निरूप्यतेप्रमाणाभावात् । किञ्चान्यत् अनवघृतस्वरूपश्चैवंस-त्यात्मा स्यात् आगच्छतांमपगच्छताञ्चावयवानामनियतपरिमाणत्वात् । अतएवमादिदोषप्रसङ्गान्न पर्य्यायेणाप्य-वयवोपगमापगमावात्मन आश्रयितुं शक्येते । अथ वापूर्ब्बेण सूत्रेण शरीरपरिमाणस्यात्मन उपचितापचितशरीरान्तरप्रतिपत्तावकात्र्स्न्यदोषप्रसञ्जनद्वारेणानित्यताया-ञ्चोदितायाम् पुनः पर्य्यायेण परिमाणानवस्थानेऽपिस्रोतःसन्ताननित्यतान्यायेनात्मनोनित्यता स्यात् यथारक्तपटादीनाम् विज्ञानानवस्थानेऽपि तत्सन्ताननित्य-ता तद्वद्विसिचामपीत्याशङ्क्यानेन सूत्रेणोत्तरमुच्यते ।सन्तानस्य तावदवस्तुत्वे नैरात्म्यवाद प्रसङ्गः वस्तुत्वेऽप्यात्मनोविकारादिदोषप्रसङ्गादस्य पक्षस्यानुपपत्तिरिति ।“अन्यावस्थितेश्चोभयनित्यत्वादविशेषः” सू० । अपि चान्त्य-स्य मोक्षावस्थाभाबिनो जीवपरिमाणस्य नित्यत्वमिष्यतेजैनैः तद्वत् पूर्ब्बयोरप्याद्यमध्यमयोर्जीवपरिमाणयोर्नि-त्यत्वप्रसङ्गादविशेषप्रसङ्गःस्यात् एकशरीरपरिमाणतैवस्यात् नोपचितापचितशरीरान्तरप्राप्तिः । अथ वाऽन्त्यस्यजीवपरिमाणस्यावस्थितत्वात् पूर्ब्बयोरप्यवस्थयोरप्यवस्थितपरिमाणएव जीवःस्यात् । ततश्चाविशेषेण सर्व्वदैवाऽणुर्महान् वा जीवोऽभ्युपगन्तव्यो न शरीरपरिमाणः ।अतश्च सौगतवदार्हतमपि मतमसङ्गतमित्युपेक्षितव्यम्” ।इत्यन्तेन जीवस्याणुपरिमाणत्वं ये स्वीचक्रुः तन्मतमुप-न्यस्य शा० सू० भा० दूषितं यथा ।“उत्क्रान्तिगत्यागतीनाम्” सू० । इदानीन्तु किंपरिमाणो-जीव इति चिन्त्यते किमणुपरिमाणः उत मध्यमपरिमाणआहोस्वित् महापरिमाण इति । ननु च नात्मोत्पद्यते नित्यचैतन्यरूपश्चायमित्युक्तमतश्च परएवात्मा जीव इत्यापतति, परस्यचात्मनोऽनन्तत्वमाम्नातं तत्र कुतोजीवस्य परिमाणचिन्ताव-तार इति उच्यते सत्यमेतत् उत्क्रान्तिगत्यागतिश्रवणानि तुजीवस्य परिच्छेदं प्रातयन्ति स्वशब्देन चास्य क्वचिदणुपरिमाण-त्वमाम्नायते तस्य सर्वस्यानाकुलत्वोपपादनायायमारम्भः । तत्रप्राप्तं तावदुत्क्रान्तिगत्यागतीनां श्रवणादणुर्जीवैति उत्क्रान्तिस्ता-वत् “स यदाएतस्माच्छरीरादुत्क्रामति सहैवैतैः सर्व्वैरुत्व्रामतीति”गतिरपि “ये वै के चास्माल्लोकात् प्रयन्ति चन्द्रमसमेव ते सर्वेगच्छन्तीति” । आगतिरपि “तस्माल्लोकात् पुनरैत्यस्मै लोकायकर्म्मणे” इति आसामुत्क्रान्तिगत्यागतीनां श्रवणात्परिच्छिन्नस्तावज्जीवः इति प्राप्नोति न हि विभोश्चलनभबकल्पतइति । सति च परिच्छेदे शरीरपरिमाणत्वस्यार्हतमतपरी-क्षायां निरस्तत्वादणुरात्मेति गम्यते । “स्वात्मना चोत्त-रयोः” सू० । उत्क्रान्तिः कदाचिदचलतोऽपि ग्रामस्वा-म्यनिवृत्तिवद्द हस्वाम्यनिवृत्त्या कर्म्मक्षयेणावकल्प्येत उत्तरेतु गत्यागती नाचलतः सम्भवतः स्वात्मना हि तयोःसम्बन्धोभवति गमेश्च कर्त्तृस्थक्रियात्वात् । अतोऽमध्यमपरिमाणस्य च गत्यागती अणुत्व एव सम्भवतः । सत्योश्चगत्यागत्योरुत्क्रान्तिरपसृप्तिरेव देहादिति प्रतीयते नह्य-नपसृप्तस्य देहाद्गत्यागती स्यातां देहप्रदेशानाञ्चोत्क्रान्ताव-पादनत्ववचनात् “चक्षुष्टो वा मूर्ध्नोवा अन्येत्योवा शरीरदेशे-भ्यः” इति । “सएतास्तेजोमात्राः समभ्याददानोहृदयमे-वान्ववक्रामति शुक्रमादाय पुनरेति स्थानमिति” चान्वरेऽपिशरीरे शारीरस्य गत्यागती भवतः तस्मादप्यस्याणुत्वसिद्धिः ।“नाणुरतच्छ्रुतेरितिचेन्नेतराधिकारात्” सू० । अथापिस्यात् नाणुरयमात्मा, कस्मात्, अतच्छ्रुतेः अणुत्ववि-परीतपरिमाणश्रवणादित्यर्थः । “स वा एष महानजः”“आत्मा योऽयं विज्ञानमयःप्राणेषु” “आकाशवत्सर्व्वगतश्च-नित्यः” “सत्यंज्ञानमनन्तं ब्रह्मे” त्येवं जातीयका हि श्रुति-रात्मनोऽणुत्वे विप्रतिषिध्येतेति चेत् नैष दोषः । कस्मात्इतराधिकारात् । परस्य ह्यात्मनः प्रक्रियायामेषापरिमाणान्तरश्रुतिः, परस्यैवात्मनः प्राधान्येन वेदान्तेषुवेदितव्यत्वेन प्रकृतत्वात्, “विरजःपर आकाशात्” इत्येवंविधानाच्च परस्यैवात्मनस्तत्र तत्र विशेषाधिकारात् ।ननु“योऽयं विज्ञानमयः प्राणेष्विति” शारीरोमहत्त्वसम्बन्धि-त्वेन प्रतिनिर्द्दिश्यते । शास्त्रदृष्ट्या त्वयं निर्दिशोवामदेववद्द्रष्टव्यः । तस्मात्प्राज्ञविषयत्वात्परिमाणान्तरश्रवणस्य,न जीवस्याणुत्वं विरुध्यते । “स्वशब्दोन्मानाभ्याञ्च” सू०इतश्चाण्रात्मा यतः साक्षादेवास्याणुत्ववाची शब्दः श्रूयते “सएषोऽणुरात्मा चेतसा वेदितव्यो यस्मिन् प्राणः पञ्चधासंविवेशेति” प्राणसम्बन्धाच्च जीवएवायमणुरभिहितैति गम्यतेतथाचोन्मानमपि जीवस्याणिमानं गमयति “बालाग्रशतभा-गस्य शतधा कल्पितस्य च । भागोजीवः स विज्ञेय” इति ।“आराग्रमात्रोह्यवरोऽपि दृष्ट” इति चोन्मानान्तरम् । नन्व-णुत्वे सत्येकदेशस्थस्य सकलदेहगतोपलब्धिर्विरुध्यते दृश्यतेच जाह्नवीह्रदनिमग्नानां सर्व्वाङ्गे शैत्योपलब्धिर्निदाघसमयेच सकलशरीरपरितापोपलब्धिरितिचेत् उत्तरं पठति ।“अविरोधश्चन्दनवत्” सू० । यथा हि हरिचन्दनविन्दुःशरी-रैकदेशे सम्बद्धोऽपि सन् सकलदेहव्यापिनमाह्लादं करोत्ये-वमात्मापि देहैकदेशस्थः सकलदेहव्यापिनीमुपलब्धिंकरिष्यति । त्वक्सम्बन्धाच्चास्य सकलशरीरगता वेदना न विरु-द्धते । त्वगात्मनोर्हि सम्बन्धः कृत्स्नायान्त्वचि वर्त्तते त्वक् चसर्व्वशरीरव्यापिनीति । “अवस्थितिवैशेष्यादितिचेन्नाभ्यु-पगमाद्धृदि हि” सू० । अत्राह यदुक्तम् “अविरोधश्चन्दनव-दिति” तदयुक्तं दृष्टान्तदार्ष्टान्तिकयोरतुल्यत्वात् सिद्धे ह्यात्म-नोदेहैकदेशस्थत्वे चन्दनदृष्टान्तो भवति । प्रत्यक्षन्तु चन्दन-स्यावस्थितिवैशेष्यमेकदेशस्थत्वं सकलदेहाह्लादनञ्च । आत्मनःपुनः सकलदेहोपलब्धिमात्रं प्रत्यक्षं नैकदेशवर्त्तित्वम् ।अनुमेयन्तदिति यदुच्येत न चात्रानुमानं सम्भवति । किमा-त्मनः सकलशरीरगता वेदना त्वगिन्द्रियस्येव सकलदेहव्यापिनः सतः किं विभोर्नभसैव, आहोस्विच्चन्दनविन्दो-रिवाणोरेकदेशस्थस्येति संशयाऽनतिवृत्तेरिति । अत्रोच्यते-नायं दोषः । कस्मात् अभ्युपगमात् । अभ्युपगम्यतेऽह्यात्मनो-पि चन्दनस्येव देहैकदेशवर्त्ति त्वमवस्थितिवैशेष्यम् ।कथमिति उच्यते । हृदि ह्येष आत्मा पठ्यते वेदान्तेषु’ ‘हृदि-ह्येष आत्मा” “स वाएष आत्मा हृदि कतमः? आत्मेतियोऽयं विज्ञानमयः प्राणेषु ह्वद्यन्तर्ज्योतिःपुरुष” इत्याद्युप-देशेभ्यः । तस्माद्दृष्टान्तर्दाष्टान्तिकयोरवैषम्याद्युक्तमेवैतदवि-रोधश्चन्दनवदिति । “गुणाद्वालोकवत्” सू० । चैतन्यगुण-व्याप्तेर्वाणोरपि सतोजीवस्य सकलदेहव्यापि कार्य्यं न विरु-ध्यते । यथा लोके मणिप्रदीपप्रभृतीनामपवरकैकदेशवर्त्ति-नामपि प्रभा अपवरकव्यापिनी सती कृत्स्नेऽपवरके कार्य्यंकरोति तद्वत् । स्यात्कदाचिच्चन्दनस्य सावयवत्वात्सूक्ष्मावयवविसर्पणेनापि सकलदेहआह्लादयितृत्वंनत्वणोर्जीवस्यावयवाः सन्ति यैरयं सकलदेहं विसर्पे-दित्याशङ्क्य “गुणाद्वालोकव” दित्युक्तम् । कथं पुनर्गुणो-गुणिव्यतिरेकेणान्यत्र वर्त्तेत न हि पटस्य शुक्लोगुणःपटव्यतिरेकेणान्यत्र वर्त्तमानोदृश्यते । प्रदीपप्रभावद्भवे-ति चेन्न तस्या अपि द्रव्यत्वाभ्युपगमात् । निविड़ावयवंहि तेजोद्रव्यं प्रदीपः विरलावयवन्तु तेजोद्रव्यमेव प्रभेतिअत उत्तरं पठति । “व्यतिरेके गन्धवत्” सू० यथा गुणस्यापिसतोगन्धस्य गन्धद्रव्यव्यतिरेकेण वृत्तिर्भवति अप्राप्तेष्वपिकुसुमादिषु गन्धोपलब्धेः एवमणोरपि सतोजोवस्य चैतत्य-गुणव्यतिरेकोभविष्यति । अतश्चानैकान्तिकमेतद्गुणत्वात्रूपवदाश्रयविश्लेषानुपपत्तिरिति गुणस्यैव सतोग-न्धस्याश्रयविश्लेषदर्शनात् । गन्धस्यापि सहैवाश्रयेणविश्लेष इति चेन्न यस्मान्मूलद्रव्याद्विश्लेषस्तस्य क्षयप्रसङ्गात् ।अक्षीयमाणमपि तत्पर्व्वावस्थातोऽवगम्यते अन्यथा तत्पू-र्ब्बावस्थैर्गुरुत्वादिभिर्हीयते । स्यादेतत् गन्धाश्रयाणांविश्लिष्टानामल्पत्वात्सन्नपि विश्लेषो नोपलक्ष्यते सूक्ष्माहिगन्धपरमाणवः सर्व्वतो विप्रसृतागन्धबुद्धिमुत्पादयन्तिनासिकापुटमनुप्रविशन्त इति चेन्न अतीन्द्रियत्वात्परमाणूनां स्फुटगन्धोपलब्धेश्च नागकेशरादिषु । न च लोकेप्रतीतिर्गन्धवदुद्रव्यमाघ्रातमिति गन्धएवाघ्रात इतिलौकिकाः प्रतियन्ति । रूपादिष्वाश्रयव्यतिरेकानुपलब्धेर्ग-न्धस्याम्ययुक्ताश्रयव्यतिरेक इति चेन्न प्रत्यक्षत्वादनुमाना-प्रवृत्तेः । तस्माद्यद्यथा लोके दृष्टं तत्तर्थैवानुगन्तव्यं निरूप-कैर्नान्यधा । न हि रसोगुणोजिह्वयोपलभ्यतैत्यतो रूपा-दयोपि गुणाजिह्वयेवोपलभ्येरन्निति नियन्तुं शक्यते ।“तथा च दर्शयति” सू० । श्रुतिर्हृदयायतनत्वमणुपरिमाणावंचात्मनोऽभिधाय तस्यैब “आलोमभ्य आमखाग्रेभ्यः” इतिचैतन्येन गुणेन समस्तशरीरव्यापित्वं दर्शयति । “पृथगुप-देशात्” सू० । “प्रज्ञया शरीरं ममारुह्येति” चात्मप्रज्ञयोःकर्त्तृकरणभावेन पृथगुपदेशाच्चैतन्येन गुणेनैवास्य शरीर-व्यापितावगम्यते । “तदेषां प्राणानां विज्ञानेन विज्ञानमा-दायेति च” कर्त्तुः शरीराद् पृथग्विज्ञानस्योपदेश एतमे-वाभिप्रायमुपोद्वलयति तस्मादणुरात्मेत्येवं प्राप्ते ब्रूमः ।“तद्गुणसारत्वात्तु तद्व्यपदेशः प्राज्ञवत्” सू० । तुशब्दःप्रक्षं व्यावर्त्तयति । नैतदस्ति अणुरात्मेति उत्क्रान्त्याद्य-श्रवणात् । परस्यैव तु ब्रह्मणः प्रवेशश्रवणात् तादा-त्म्योपदेशाच्च परमेव ब्रह्म जीव इत्युक्तम् । परमेव चेद्-ब्रह्मजीवस्तस्माद्यावत्परं ब्रह्म तावानेव जीवो भवितुमर्हतिपरस्य च ब्रह्मणो विभुत्वमाम्नातं तस्माद्विभुर्जीवः । तथाच “स वा एष महानज आत्मा योऽयं विज्ञानमयः प्राणेषु,इत्येवंजातीयका जीवविषया विभुत्ववादाः श्रौताः स्मा-र्त्ताश्च समर्थिता भवन्ति । नचाणोर्जीवस्य सकलशरीरगतावेदनोपपद्यते । त्वक्सम्बन्धात् स्यादिति चेन्न त्वक्कण्टकतोदनेऽपि सकलशरीरगतैव वेदना प्रसज्येत त्वक्कण्टक-योर्हि संयोगः कृत्स्नायां त्वचि वर्त्तते त्वक् च कृत्स्न-शरीरव्यापिनीति पादतलएव तु कण्टकनुन्नां वेदनांप्रतिलभन्ते । नचाणोर्गुणस्य व्याप्तिरुपपद्यते गुणस्य गुणि-देशत्वात् गुणत्वमेव हि गुणिनमनाश्रित्य गुणस्य हीयेत ।प्रदीपप्रभायाश्च द्रव्यान्तरत्वं व्याख्यातम् । गन्धोऽपिगुणत्वाभ्युपगमात् साश्रय एव सञ्चरितुमर्हति अन्यथागुणत्वहानिप्रसङ्गात् । तथा चोक्तं भगवता द्वैपायनेन“उपलभ्याप्सु तद्गन्धं केचिद्ब्रूयुरनैपुणाः । पृथिव्यामेव तंविद्यादपोवायुञ्च संश्रितमिति” । यदि च चैतन्यं जीवस्यसमस्तं शरीरं व्याप्नुयान्नाणुर्जीवः स्यात् चैतन्यमेव ह्यस्यस्वरूपं अग्नेरिवौष्ण्यप्रकाशौ, नात्र गुणगुणिविभागोविद्यतइति । रीरपरिमाणत्वञ्चं प्रत्याख्यातं परिशेषाद्विभुर्जीवःकथं तर्ह्यणुत्वादिव्यपदेश इति अत आह “तद्गुणसारत्वा-त्तु तद्व्यपदेश” इति । तस्याबुद्धेर्गुणाः तद्गुणा इच्छा द्वेषःसुखं दुष्खमित्येवमादयः तद्गुणाः सारः प्रधानं यस्यात्मनःसंसारित्वे सम्भवति स तद्गुणसारः तद्भावस्तदगुणसा-रत्वम् । न हि बुद्धेर्गुणैर्विना केवलस्यात्मनः संसारित्वम-स्ति बुद्ध्युपाधिधर्म्माध्यासनिमित्तं हि कर्त्तृत्वभोक्तृत्वादिलक्षणं संसारित्वमकर्त्तुरभोक्तुश्चासंसारिणोनित्यमुक्तस्यसत आत्मनः । तस्मात्तद्गुणसारत्वाद्बुद्धिपरिमाणेनास्यपरिमाणव्यपदेशः तदुत्क्रान्त्यादिभिश्चास्योत्क्रान्त्यादिव्य-पदेशो न स्वतः । तथा च “बालाग्रशतभागस्य शतधाकल्पितस्य तु । भागोजीवः स विज्ञेयः स चानन्त्यायकल्पत” इत्यणुत्वं जीवस्योक्त्वा तस्यैव पुनरानन्त्यमाहतच्चैवमेव समञ्जसं स्यात् यद्यौपचारिकमणुत्वं जीवस्यभवेत् पारमार्थिकं चानन्त्यम् । नह्युभयं मुख्यमव-कल्पेत । नचानन्त्यमौपचारिकमिति शक्यं विज्ञातुंसर्व्वोपनिषत्सु ब्रह्मात्मभावस्य प्रतिपिपादयिषितत्वात् ।तथैतस्मिन्नप्युन्माने “बुद्धेर्गुणेनात्मगुणेन चैव आराग्र-मात्रोह्यवरोऽपि दृष्ट” इति बुद्धिगुणसम्बन्धेनैवारा-ग्रमात्रतां शास्ति न स्वेनैवात्मना । “एषोऽणुरात्मा चेतसावेदितव्य” इत्यत्रापि न जीवस्याणुपरिमाणत्वं शिष्यते ।परस्यैवात्मनश्चक्षुराद्यनवग्राह्यत्वेन नप्रसादावगम्यत्वेनच प्रकृतत्वात्, जीवस्यापि च मुख्याणुपरिमाणत्वानुपपत्तेः ।तस्माद्दुर्ज्ञानत्वाभिप्रायमिदमणुत्ववचनमुपाध्यभिप्रायं वाद्रष्टव्यम् । तथा “प्रज्ञया शरीरमारुह्य” इत्येवंजातीय-केष्यपि भेदोपदेशेषु बुद्ध्योपाधिभूतया जीवः शरीरंसमारुह्येत्येवं योजयितव्यं व्यपदेशमात्रं वा शिला-पुत्रकस्य शरीरमित्यादिवत् । नह्यत्र गुणगुणिविभागोविद्यत इत्युक्तम् । हृदयायतनत्ववचनमपि बुद्धेरेवतदायतनत्वात् । तथोत्क्रान्त्यादीनामप्युपाध्यायत्ततांदर्शयति “कस्मिन्नहमुद्क्रान्त उत्क्रान्तो भविष्यामि” इति“कस्मिन् वा प्रतिष्ठिते प्रतिष्ठास्यामीति स प्राणमसृ-ज्यतेति” । उत्क्रान्त्यभावे हि गत्यागत्योरप्यभावो विज्ञा-यते, नह्यनपसृप्तस्य देहाद्गत्यागती स्याताम् । एवमुपा-धिगुणसारत्वाज्जोवस्याणुत्वव्यपदेशः प्राज्ञवत् यथाप्राज्ञस्य परमात्मनः सगुणेषूपासनेषूपाधिगुणसारत्वा-दणीयस्त्वादिव्यपदेशः “अणीयान्व्रीहेर्व्वा यवाद्वा,मनोमयः प्राणशरीरः सर्वगन्धः सर्वरसः सत्यकामः सत्यसंकल्पः”इत्येवं प्रकारः तद्वत्” इत्यन्तेन । इति शाङ्करानुयायिनःरामानुजमाध्वादयश्च जीवस्याणुत्व पक्षमुररीचक्रुः । तत्प्र-पञ्चस्तत्तच्छास्त्रे दृश्यः तयोर्युक्तायुक्तत्वं नैयायिकवैशेषि-काङ्गीकृतविभुत्वप्रदर्शकयुक्तीरवलोक्य सुधीभिः समर्थनीयम्न्यायसूत्रवृत्तौ चात्मनोदेहाद्यतिरिक्तत्वं प्रदर्शितं यथा“तत्रेन्द्रियं ज्ञानवन्नवेति संशये करणत्वेन सिद्धानामिन्द्रि-याणां चैतन्यमस्तु लाघवात्तथा चात्मशब्दस्य नानार्थत्वादि-न्द्रियाणामभौतिकत्वाद्वा न साङ्कर्य्यमितीन्द्रियचैतन्यवादिन-स्तन्निराकरणायाह । “दर्शनर्स्पर्शनाभ्यामेकार्थग्रह-णात्” १ । “न विषयव्यवस्थानात्” २ । “तद्व्यवस्थानादेवात्म-सद्भाबादप्रतिषेधः” ३ । “शरीरदाहे पातकाभावात्” ४ ।“तदभावः सात्मकप्रदाहेऽपि तन्नित्यत्वात्” ५ । “नकार्य्याश्रयकर्तृबधात्” ६ । “सव्येन दृष्टस्येतरेण प्रत्य-भिज्ञानात्” ७ । “नैकस्मिन्नासास्थिव्यवहिते द्वित्वाभि-मानात्” ८ । “एकनाशे द्वितीयाविनाशात्” ९ ।“अवयवनाशेऽप्यवयव्युपलब्धेरहेतुः” १० । “दृष्टान्तविरोधाद-प्रतिषेधः” ११ । “इन्द्रियान्तरविकारात्” १२ । “नस्मृतेः स्मर्त्तव्यविषयत्वात्” १३ । “तदात्मगुणत्वसद्भावाद-प्रतिषेधः” १४ । “अपरिसङ्ख्यानाच्च स्मृतिविष-यस्य” १५ । “नात्मप्रतिपत्तिहेतूनां मनसि सम्भवात्” १६ ।“ज्ञातुर्ज्ञानसाधनोपपत्तेः संज्ञाभेदमात्रम्” १७ । “निय-मश्च निरनुमानः” १८ । “पूर्व्वाभ्यस्तस्मृत्यनुबन्धाज्जातस्यहर्षभयशोकसम्प्रतिपत्तेः” १९ । “पद्मादिषु प्रबोध-सम्मीलनविकारवत्तद्विकारः” २० । “नोष्णशीतवर्षाकाल-निमित्तत्वात् पञ्चात्मकविकाराणाम्” २१ । “प्रेत्या-हाराभ्यासकृतात् स्तन्याभिलाषात्” २२ । “अयसोऽय-स्कान्ताभिगमनवत्तदुपसर्पणम्” २३ । “नान्यत्र प्रवृत्त्य-भावात्” २४ । “वीतरागजन्मादर्शनात्” २५ सूत्राणि“एकस्यैव दर्शनस्पर्शनाभ्यामर्थस्य ग्रहणात् दर्शनस्पर्शनेज्ञानविशेषौं तृतीया च प्रकारे तेन चाक्षुषस्पर्शनोभय-वत्त्वेनैकस्य धर्म्मिणः प्रतिसन्धानादित्यर्थः । तथा चयोऽहं घटमद्राक्षं सोऽहं स्पृशामीत्यनुभवादात्मेन्द्रियव्यति-रिक्तएक इति १ । अत्र शङ्कते चक्षुस्त्वग दीनां रूपस्पर्शादिनियतविषयत्वाच्चक्षुरादेश्चाक्षुषादिसमवायित्वमित्थञ्चाभेद-प्रत्ययोभ्रान्त इति भावः २ । समाधत्ते क्तप्रतिषेधोनयुक्तः उक्तविषयव्यवस्थानादेवात्मसद्भावादतिरिक्तात्मकल्प-नादित्यर्थः । अयंभावः तत्तदिन्द्रियाणां तत्तद्विषयकप्रत्यक्षंप्रति समवायित्वं वाच्यं न तु प्रत्यक्षत्वाववच्छिन्नं प्रति,अनुमित्यादिजनकत्वेतु विनिगभकाभावात् । तेन जन्यज्ञान-त्वावच्छिन्नजनकतावच्छेदकमात्मत्वं चक्षुरादेरनित्यत्वादात्मनश्चनित्यतायावक्ष्यमाणत्वाच्चक्षुरादिनाशेऽपि स्मरणाच्चक्षुरह-मित्याद्यप्रतीतेश्च नेन्द्रियात्मवादोयुज्यत इति ३ । समाप्त-मिन्द्रियप्रकरणम् । ननु गौरोऽहं जानामीत्यादिप्रती-तेरस्तु शरीरमात्मेत्याशङ्क्य दूषयति । पातकाभावात्पातकादेरभावप्रङ्गात् तथाचोत्तरकालिकं दुःखादिकंन स्यादिति । यद्वा दाहोनाशः तथा च शरोरनाशेकृते कर्त्तरि शरीरे विनष्टे पातकं न स्यादित्यर्थः । यद्यपिभूतचैतन्यवादिना पातकादिकं नोपेयते तथापि तस्य प्रसा-ध्याङ्गकत्वादेकदेशिनः पूर्व्वपक्षित्वाद्वा न दोष इतिभावः ४ । तवापि तुल्योदोष इत्याशङ्कते ।तदभावः पातकाभावः सात्मकशरीरस्य प्रदाहेऽपि प्रसक्तःतन्नित्यत्वात् तस्य आत्मनोनित्यत्वात् नित्यत्वेन निर्विकारत्वं तेन जन्यधर्म्मानाश्रयत्वमभिमतमितिकेचित् । तन्नि-त्यत्वात् शरीरनाशे शरीरविशिष्टात्मनाशस्य नियतत्वादि-त्यपि कश्चित् । किञ्च सात्मकशरीरनाशेऽपि हन्तुः पातका-भावः स्यात् तस्यात्यनोनित्यत्वेन तन्नाशकत्वाभावात् ५ ।परिहरति । कार्य्याश्रयस्य चेष्टाश्रयस्य कर्त्तुः कृत्ययच्छेदकस्यशरीरस्यैव नाशः नत्वात्मन इति न पातकाभावः ।यद्वा न हन्तुः पातकाभावः कार्य्याश्रयकर्त्तुर्बाधात्शरीरस्य नाशात् ब्राह्मणत्वादेः शरीरवृत्तित्वात्तन्नाशा-देव पापोत्पत्तिरिति भावः । वस्तुतस्तु अपूर्व्वशरीरावच्छिन्नप्राणसंयोगात्मकोत्पत्तिवत् शरीराववच्छिन्नप्राणसंयोग-ध्वंसविशेषत्माकं मरणमप्यात्मनः सम्भवति अन्यथा शरीरविनाशनोद्बन्धनमुखनिरोधादेर्हिसात्वं न स्यात् पातका-नभ्युपगन्तृचार्व्वाकादिमते शरीरभेदसाधनन्तु वक्ष्यमाण-युक्तिभिरिति ध्येयम् ६ । समाप्तदेहभेदप्रकरणम् प्रसङ्गा-च्चक्षुरद्वैतप्रकरणमारभते । वामेन चक्षुषा दृष्टस्य दक्षिणेनचक्षुषा प्रत्यभिज्ञानात् स्थिरात्मसिद्धिरिति केषाच्चिन्मतंतन्निराकरणायैतदुपन्यासः ७ । एतद्दूषयति । मध्य-स्थसेतुना तडागस्येव नासास्थिव्यवहितगोलकान्तरा-वच्छिन्नतया द्वैतप्रत्ययोभ्रम इत्यर्थः ८ । आक्षिपति ।चक्षुरैक्ये एकचक्षुर्नाशेऽन्धत्वं स्यादिति भावः ९ ।अत्रैकदेशी परिहरति । अवयवस्य शाखादेर्नाशेऽप्यवय-विनोवृक्षस्य प्रत्यभिज्ञानान्नावयवनाशे सर्ब्बत्रावयविनाश-नियमस्तथा चैकनाशेऽपि नान्धत्वमिति १० । एकदेशिमतस्यपूर्ब्बोक्ताक्षेपस्य च समाधानाय सिद्धान्तिनः सूत्रम् ।उक्तप्रतिषेधोन युक्तः दृष्टान्तस्य विरोधादयुक्तत्वात् नहि शाखाच्छेदे वृक्षस्तिष्ठति तथा सति वृक्षस्यानाशप्रसङ्गा-दतोऽवस्थितावयवैस्तत्र स्वण्डवृक्षीत्पत्तेर्नेकदेशिमतं युक्तम् ।एतेनैकनाशे द्वितीयाविनाशाद्भेदसाधनमपि प्रत्युक्तं चक्षु-र्नाशेऽपि गोलकान्तरावच्छिन्नावयवैः खण्डचक्षुः सम्भवात्इत्थञ्च लाघवाच्चक्षुरद्वैतमिति टीकास्वरससिद्धम् । परे तुचक्षुर्द्वैतमेव सूत्रार्थं मन्यमाना व्याचक्षते सिद्धान्तिनः । सूत्रंसव्येनेति । शङ्कते नैकस्मिन्निति । समाधत्ते एकेति । शङ्कतेअवयवेति । निराकरोति दृष्टान्तेति । शास्वानाशे वृक्षनाशा-वश्यकत्वात् दृष्टान्तोन युक्तः । यद्वा दृष्टान्तस्य गोलकभेदस्यविरोधादन्यथानुपपन्नत्वाद्दृष्टं हि मृतस्य चक्षुरधिष्ठानगो-लकद्वयं भेदेनैवोपलभ्यत इति वदन्ति ११ । आत्मनॄ इन्द्रियभेदे युक्त्यन्तरमाह । चिरविल्वाद्यम्लद्रव्ये दृष्टे तद्रसस्म-रणाद्दन्तोदकसंप्लवरूपरसनेन्द्रियविकारादिन्द्रियव्यतिरिक्तआत्मा सिद्ध्यति १२ । आक्षिपति । स्मृतिर्हि स्मर्त्तव्यविषयि-णीति नियमस्तस्याश्च दर्शनादिना सामानाधिकरण्येमानाभावात् अस्तु वा विषयतयैव सामानाधिकरण्यमितिभावः १३ । समाधत्ते । उक्तप्रतिषेधोन युक्तः धर्म्मिग्राहकमानेनस्मृतेरात्मगुणत्वात्परिशेषेणात्मगुणत्वसिद्धेरहं स्मरामीत्यनुभ-वात् विषयनिष्ठकार्य्यकारणभावे चैत्रस्य ज्ञानान्मैत्रस्यस्मरणापत्तेरिति भावः १४ । विषयाणां स्मर्त्तव्यानांस्मृतिसमवायित्वम् स्यादित्याशङ्क्य समाधत्ते । अपरिस-ङ्ख्यानात् आनन्त्यात् तथा च लाघवादतिरिक्तात्मसिद्धिः ।इद न सूत्रं किन्तु भाष्यमिति केचित् १५ । समाप्तं चक्षु-रद्वैतप्रकरणम् । ननु मनसोनित्यत्वादात्मत्वमस्त्वित्याशङ्क-ते । नातिरिक्त आत्मा आत्मसाधकमानानां मनसार्थान्त-रत्वमिति भावः १६ । समाधत्ते । यदि मनसो ज्ञातृत्वं तदाव्यासङ्गाद्युपपादनाय करणान्तरमवश्यं वाच्यं तथा चैको-ज्ञाता ज्ञानसाधनं चैकं सिद्धं मन आत्मास्त्विति संज्ञा-मात्रं किञ्चव्यासङ्गोपपादकतया मनसोऽणुत्वं सिद्धमात्म-नश्च प्रत्यक्षोपपादकतया महत्त्वमिति भेद आवश्यक इतिभावः १७ । ननु रूपादिप्रत्यक्षम् सकरणकमस्तु न तुसुखादिप्रत्यक्षम् एवंपरमाण्वन्तरस्यातीन्द्रियत्वेऽपि मनसःप्रत्यक्षम् स्यादत्राह । उक्तोनियमविशेषोनिरनुमानःनिष्प्रमाणकः गौरवाद्वैपरीत्ये च विनिगमकाभावाच्चेतिभावः १८ । समाप्तम् मनोभेदप्रकरणम् । एवं साधितेऽपिदेहादिभिन्ने आत्मनि विना तन्नित्यतां न परलोकार्थिनःप्रवृत्तिरतः आत्मनित्यताप्रतिपादनाय सूत्रम् । जातस्यबालस्य एतज्जन्माननुभूतेष्वपि हर्षादिहेतुषु सत्सु हर्षा-दीनां सम्प्रतिपत्तिः उत्पत्तिस्तस्याः पूर्व्वापूर्व्वानुभबाधीनस्मृतिसम्बन्धादेव सम्भवात् इत्थं चेदानीन्तनस्यात्मनःपूर्व्वपूर्ब्बसिद्धौ तस्यानादित्वमनादेश्च भावस्य न नाश इतित्यत्वसिद्धिरिति भावः १९ । अत्र शङ्कते । बालस्यहर्षादयोमुखविकासाद्यनुमेया न च तत्सम्भवः पद्मादीनांप्रबोधादिवददृष्टविशेषाधीनक्रियावशादेव तदुपपत्तेरितिभावः २० । सिद्धान्तयति । उक्तं न युक्तं यतः पञ्चात्म-कानां पाञ्चभौतिकानां पद्मादीनां ये विकारास्तेषाम्उष्णकालादिनिमित्तत्वात् मनुष्यादीनान्तु हर्षादिनिमि-त्तका मुखविकासादय इति न तुल्यतेति भावः २१ ।आत्मनित्यत्वे हेत्वन्तरमाह । प्रेत्य मृत्वा जातमात्रस्ययः स्तन्याभिलाषः स तावदाहाराभ्यासजनितः जन्मा-न्तरीणाहारेष्टसाधनताधीजन्यजीवनादृष्टोद्बोधितसंस्कारा-धीनेष्टसाधनतास्मरणेन हि बालःस्तनपाने प्रवर्त्तइत्यनेनादित्वमिति २२ । शङ्कते । यथाऽयस्कान्तसन्निहि-तस्यायसोऽयस्कान्ताभिमुखतया गमनं तथैव वत्सस्यापिस्तनोपसर्पणं न ष्टसाधनताज्ञानाधीनप्रवृत्तिजन्या चेष्टे-यमित्यर्थः २३ । समाधत्ते । स्तनपानएव बालः प्रवर्त्ततेनत्वन्यत्रेति नियमः कथं स्यात् । वस्तुतस्तु अन्यत्र अयसिप्रवृत्त्यभावात् प्रवृत्तिर्हि चेष्टानुमिता लिङ्गं न तु क्रिया-मात्रमतोन व्यभिचार इति भावः २४ । हेत्वन्तरमाहवीतरागोरागशून्यस्तावन्नोत्पद्यतेऽपि तु सरागतएव-जन्मान्तरीयेष्टसाधत्वताज्ञानाधीनस्मरणं हेतुरिति पूर्ब्बंस्तन्याभिलाषौक्तः सम्प्रति तु पतगादीनां कणादिभक्षणा-भिलाषसाधारणं रागमात्रमित्यपौनरुक्तम् २५” वृत्तिः ।वैशेषिकसूत्रोपस्करयोरात्मसाधनपुरस्सरं तस्य देहा-द्यतिरिक्तता साधिता यथा “इन्द्रियार्थप्रसिद्धिरिन्द्रि-यार्थेभ्यो ऽर्थान्तरस्य हेतुः” १ । “सोऽनपदेशः” २ ।“कारणाज्ञानात्” ३ । “कार्य्येषु ज्ञानात्” ४ । “अज्ञा-नाच्च” ५ । अन्यदेव हेतुरित्यनपदेशः” ६ । “अर्थान्तरंह्यर्थान्तरस्याऽनपदेशः” ७ सू० “इन्द्रियार्थप्रसिद्धेरात्म-परीक्षायामुपयोगमाह । हेतुर्लिङ्गमर्थान्तरस्य आत्मनःइन्द्रियार्थेभ्य इति इन्द्रियेभ्योऽर्थेभ्यश्च रूपादिभ्यस्तद्वद्-भ्यश्च यदर्थान्तरम् आत्मा तस्य लिङ्गमित्यर्थः । यद्यपिज्ञानमेव लिङ्गमिह विवक्षितं तथापीन्द्रियार्थप्रसिद्धेरू-पादिसाक्षात्कारस्य प्रसिद्धतरतया ताद्रूप्येणैव लिङ्गत्वमुक्तम् ।तथाहि प्रसिद्धिः क्वचिदाश्रिता कार्य्यत्वात् घटवत्गुणत्वाद्वा क्रियात्वाद्वा सा च प्रसिद्धिः करणजन्या क्रिया-त्वात् छिदिक्रियावत् यच्च प्रसिद्धेः करणं तदिन्द्रियं तच्चकर्तृप्रयोज्यं करणत्वात् वास्यादिवत् तथा यत्रेयं प्रसिद्धि-राश्रिता, यः घ्राणादीनां करणानां प्रयीक्ता स आत्मा १ ।ननु शरीरमिन्द्रियाणि वा प्रसिद्धेराश्रयोऽस्तु प्रसिद्धिंप्रति तदुभयान्वयव्यतिरेकयीः स्फृटतरत्वात् किं तदन्या-श्रयकल्पनया तथाहि चैतन्यं शरीरगुणः तत्कार्यत्वात्तद्रूपादिवत् एवमिन्द्रियगुणत्वेऽपि वाच्यमित्याशङ्क्याह ।अपदेशो हेतुः तदाभासोऽनपदेशः तथाच तत्कार्यत्वंप्रदीपजन्यज्ञानादावनैकान्तिकत्वादनपदेशैत्यर्थः २ । ननुतत्कार्यत्वं चैतन्यत्वावच्छिन्नस्यैव कार्यत्वं विवक्षितं प्रदी-पादीनाञ्च समस्तमेव चैन्तन्यं न कार्यमिति न व्यभिचारइत्याशङ्क्याह । शरीरकारणानां करचरणादीनांतदवयवानां वा अज्ञानात् ज्ञानशून्यत्वादित्यर्थः । पृथिव्यादि-विशेषगुणानां हि कारणगुणपूर्ब्बकता दृष्टा तथाचशरीरकारणेषु यदि ज्ञानं स्यात्तदा शरीरेऽपि सम्भाव्येत नचैवम् ।नन्वस्तु शरीरकारणेष्वपि चैतन्यमिति चेन्न ऐकमत्याभाव-प्रसङ्गात् न हि बहूनाञ्चेतनानामैकमत्यं दृष्टम्, करावच्छेदे-नानुभूतस्य करच्छेदेऽस्मरणप्रसङ्गात् यतः “नान्यदृष्टं स्मर-त्यन्यः” इति । किञ्च शरीरनाशे तत्कृतहिंसादिफलानुपभो-गप्रसङ्गात् नहि चैत्रेण कृतस्य पापस्य फलं मैत्रो भुङ्क्तेततश्च कृतहानिरकृताम्यागमश्च स्यात् ३ । ननु शरीरकारणेषुसूक्ष्ममात्रया ज्ञानमस्ति शरीरे तु स्फुटमतो नाऽकारण-गुणपूर्व्व कता नचैकमत्यानुपपत्तिरित्याशङ्क्याह । यदि हिशरीरमूलकारणेषु परमाणुषु चैतन्यं स्यःत् तदातदारब्धेषु कार्येषु घटादिष्वपि स्यात किञ्च पार्थिवविशेषगु-णानाम् सर्व्वपार्थिववृत्तिताव्याप्तेः कार्येष्वपिघटादिषु चैतन्यं स्यान्न च तत्र चैतन्यमुपलभ्यते इत्यर्थः ४ ।ननु घटादावपि सूक्ष्ममात्रया चैतन्यमस्त्येवेत्याशङ्क्याह ।सर्व्वैः प्रमाणैरज्ञानात् कुम्भादौ न चैतन्यमित्यर्थः ।सर्ब्बप्रमाणागोचरस्याप्यभ्युपगमे शशविषणादेरप्यभ्युपगम-सङ्गः न हि घटादौ चैतन्यं केनापि प्रमाणेन ज्ञायतइति ५ । ननु श्रोत्रादिभिः करणैरधिष्ठाताऽनुमीयते इत्यु-क्तं तदयुक्तं नहि श्रोत्रादिभिरात्मनस्तादात्म्यं तदुत्प-त्तिर्व्वा न च ताभ्यामन्तरेणाऽविनाभावसिद्धिः नचावि-नाभावमन्तरेणाऽनुमितिरित्यत आह । हेतुः साध्यादन्यएव भवति न तु साध्यात्मा साध्याविशेषप्रसङ्गात् तस्मा-त्तादात्म्यघटितो हेतुरहेतुरनपदेश इत्यर्थः ६ । ननु श्रोत्रा-दिभिरिन्द्रियैरात्मनो यथा न तादात्म्यं तथा तदुत्प-त्तिरपि नास्ति नहि बह्नेर्धूम इव आत्मनः श्रोत्रादि-करणमुत्पद्यते इत्यत आह । हि यतः कार्यं धूमादियथा रासभादेरर्थान्तरम् तथा कारणाद्वह्न्यदेरप्यर्थान्तरमेवतथा चार्थान्तरत्वाविशेषात् धूमो रासभं न गमयति किन्तुबह्निमेव गमयतीत्यत्र स्वभावविशेष एव नियामकः सच स्वभावो यदि कार्यादन्यस्यापि भवति तदा सोऽप्यपदे-शोभवत्येव तथा च कार्यमविवक्षितस्वभावभेदम् अनपदेशः,तथा च तादात्म्यतदुत्पत्ती एवाऽविनाभावः तयोरेवाविना-भावपर्यवसानम् ताभ्यां समानोपायौ वा तदुभयमात्रग्रहाधीनग्रहौ वेति स्वशिष्यव्यामहोनाय परिभाषामा-त्रमिति भावः” ७ ॥ उपस्क० । अनतिदूरे च तत्रैव“आत्मेन्द्रियार्थ सन्निकर्षाद्यन्निष्पद्यते तदन्यत्” १८ सू० ।“ज्ञानमात्मन्युभयथा लिङ्गम्, ज्ञानं क्वचिदाश्रितं कार्य्य-त्वाद्रूपादिवदिति वा, प्रत्यभिज्ञारूपतया वा योऽहमद्राक्षंसोऽहं स्पृशामीति, तत्र ज्ञानगतं कार्य्यत्वं नासिद्धंयन्निष्पद्यत इत्यभिधानात्, न विरुद्धं सामान्यतोदृष्टेऽत्रविरोधाभावात् । नचानैकान्तिकम्, तत एव, तथा च स्वगत-कार्य्यत्वगुणत्वद्वारा सामान्यतोदृष्टेन ज्ञानमेवात्मनि लिङ्गम्,प्रत्यभिज्ञानन्तु भिन्नकर्त्तृकेभ्योव्यावर्त्तमानमेककर्त्तृकतायांपर्य्यवस्यति । न च बुद्धिचैतन्येऽपि कार्य्यकारणभावनिबन्धन-मेव प्रतिसन्धानम्, शिष्यगुरुबुद्ध्योरपि प्रतिसन्धानप्रसङ्गात् ।उपादानोपादेयभावस्तत्र नास्ति स च प्रतिसन्धानप्रयोजकइति चेदुपादानत्वस्य द्रव्यधर्म्मतया बुद्धावसम्भवात्, सम्भ-वे वा बुद्धीनां क्षणिकतया पूर्व्वानुभूतप्रतिसन्धानानुप-पत्तेः, न हि पूर्ब्बबुद्ध्या उत्तरासु बुद्धिषु कश्चित् संस्कारआधीयते, स्थिरस्य तस्य त्वयाऽनभ्युपगमात्, क्षणिकबुद्धि-धारारूपस्य च कालान्तरस्मृतौ प्रतिसन्धाने वाऽसामर्थ्यात् ।आलयविज्ञानसन्तानः प्रवृत्तिविज्ञानसन्तानादन्य एवर्स्मत्ता च प्रतिसन्धाता चेति चेत् स यदि स्थिरः तदासिद्धं नः समीहितम्, क्षणिकबुद्ध्विधारारूपश्चेत् तदापूर्व्वदोषानतिवृत्तेः, न हि तत्रापि स्थिरः कश्चित्संस्कारः । किञ्च प्रवृत्तिविज्ञानातिरिक्ते तत्र प्रमाणा-भावः । अहमिति बुद्धिधारैव प्रमाणमिति चेत् भवतुतत्र प्रवृत्तिविज्ञानान्यालयविज्ञानमेव चेदुपादत्ते तदाप्रवृत्तिविज्ञानानामुपादानताविरहे निमित्तताऽपि न स्यात्उपादानताव्याप्तत्वान्निमित्ततायाः, माऽस्तु निमित्तताऽ-पीति चेत् तर्हि सत्त्वमपि गतम्, अर्थक्रियाकारित्वस्यसत्त्वलक्षणत्वात् प्रवृत्तिसन्तानालयविज्ञानसन्तानाभ्यांसम्भूय सन्तानद्वयमुपादीयत इति चेत् तर्हि किमपराद्धम-वयविसंयोगादिभिः, व्यासज्यवृत्तितायास्त्वयाप्यभ्युपपमात् ।तस्माज्ज्ञानेनाश्रयतयाऽनुमितमात्मानं प्रतिसन्धानं स्थिर-त्वेन साधयतीति न किञ्चिदनुपपन्नम् । यद्वा नित्याबुद्धिर्नात्मानं कारणत्वेन गमयितुमर्हतीति साङ्ख्यमतनि-रासाय सूत्रमिदमुपतिष्ठते “आत्मेन्द्रियार्थसन्निकर्षाद्यन्निष्पद्यते तदन्यत्” बुद्धितत्त्वं यत्त्वयोच्यते तज्ज्ञानमेव,बुद्धिरुपलब्धिर्ज्ञानमिति हि पर्य्यायाभिधानं, तच्चात्मादि-सन्निकर्षादुत्पन्नम् । अन्यदेव त्वदभ्युपगतादन्तःकरणादि-त्यर्थः तथाच भवति तत् आत्मनोलिङ्गमिति भावः” १८ ।“प्रवृत्तिनिवृत्ती च प्रत्यगात्मनि दृष्टं परत्र लिङ्गम्” १९ ।“आत्मन्यनुमानमभिधायैदानीं परात्मानुमानमाह । प्रत्य-त्मनीति स्वात्मनीत्यर्थः, इच्छाद्वेषजनिते प्रवृत्तिनिवृत्तीप्रयत्नविशेषौ ताभ्याञ्च हिताहितप्राप्तिपरिहारफलकेशरीरकर्म्मणी चेष्टालक्षणेजन्येते तथाच परशरीरे चेष्टां दृष्ट्वाइयं चेष्टा प्रयत्नजन्या चेष्टात्वात् मदीयचेष्टावत् स च प्रयत्नआत्मजन्यः आत्मनिष्ठोवा प्रयत्नत्वात् मदीयप्रयत्नवदितिपरात्मात्मानुमानम्” १९ उपस्क० । आह्निकान्तरे “आत्मे-न्द्रियार्थसन्निकर्षे ज्ञानस्य भावोऽभावश्च मनसोलिङ्गम्” १ ।“तस्य द्रव्यत्वनित्यत्वे वायुना व्याख्याते” २ । “प्रयत्ना-यौगपद्याज्ज्ञानायौगपद्याच्चैकम्” ३ । प्राणापाननिमेषो-न्मेषजीवनमनोगतीन्द्रियान्तरविकाराः सुखदुःखेच्छाद्वेष-प्रयत्नाश्चात्मनो लिङ्गानि” ४ । “तस्य द्रव्यत्वनित्यत्वेवायुना वाख्याते” ५ । “यज्ञदत्त इति सन्निकर्षेप्रत्यक्षाभावाद्दृष्टं लिङ्गं न विद्यते” ६ । “सामा-न्यतोदृष्टाच्चाविशेषः” ७ । “तस्मादागमिकः” ८ ।“अहमितिशब्दस्य व्यतिरेकान्नागमिकम्” ९ । “यदि दृष्टमन्वक्ष-महं देवदत्तोऽहं यज्ञदत्त इति” १० । “दृष्टयात्मनिलिङ्गे एक एव दृढत्वात् प्रत्यक्षवत् प्रत्ययः” ११ ।“देवदत्तो गच्छति यज्ञदत्तो गच्छतीत्युपचाराच्छरीरेप्रत्ययः” १२ । “सन्दिग्धस्तूपचारः” १३ । “अहमिति प्रत्य-गात्मनि भावात् रत्राभावादर्थान्तरप्रत्यक्षः” १४ । “देव-दत्तो गच्छतीत्युपचारादभिमानात्तावच्छरीरप्रत्यक्षोऽह-ङ्कारः” १५ । “सन्दिग्धस्तूपचारः” १६ । “न तु शरीरविशेषादु यज्ञदत्तविष्णुमित्रयोर्ज्ञानं विषयः” १७ ।“अहमिति मुख्ययोग्याभ्यां शब्दवद्व्यतिरेकाव्यभिचाराद्वि-शेषसिद्धेर्नागमिकः” १८ । “सुखदुःखज्ञाननिष्यत्त्य-विशेषादैकात्म्यम्” १९ । “व्यवस्थातोनाना” २० ।वैशेषिकसूत्राणि “इदानीमात्म परीक्षाशेषम् उद्देश-क्रमलङ्घनेन मनःपरीक्षामवतारयन्नाह । मनोगतिमा-त्मनोलिङ्गं वक्ष्यति तद् यदि मनो ज्ञानकरणत्वेनमूर्त्तत्वेन च परीक्षितं भवति तदा यत्प्रेरितं मनः इन्द्रि-यान्तरादभिमतविषयग्राहिणि इन्द्रिये सम्बध्यते स आत्मेतिसिद्धं भवतीत्येतदर्थं क्रमलङ्घनम् । आत्मेन्द्रियार्थसन्नि-कर्षे सति यस्मिन् इन्द्रियसन्निकृष्टे ज्ञानस्य भावः उत्पादः,असन्निकृष्टे ज्ञानस्याभावोऽनुपादस्तन्मन इत्यर्थः । ननुमनोवैभवेऽपि करणधर्म्मत्वादेव ज्ञानायौगपद्यमुपपद्यते किञ्चमनो भु विशेषगुणशून्यद्रव्यत्वात् कालवत् ज्ञानासमवा-यिकारणसंयोगाधारत्वादात्मवत् स्पर्शात्यन्ताभाववत्त्वादाका-शवदित्यादि वैभवसाधकं प्रमाणमिति चेत् मैवं यदि मनोविभु स्यात्तदा सर्व्वेन्द्रियसन्निकृष्टात्ततः सर्ब्बैन्द्रियकमेकमेवज्ञानं स्यात्, कार्य्यविरोधान्नैबमिति चेन्न नहि सामग्रीविरोधाविरोधमाकलयति येन चाक्षुषत्वरासनत्वादिविरो-धाय बिभ्येत्, चित्ररूपवत् चित्राकारमेव वा स्यात् ।भवत्येव दीर्घशष्कुलीभक्षणस्थले इति चेन्न तत्रापि व्यासङ्गद-र्शनात्, तर्हि रूपरसगन्धस्पर्शान् युगपत् प्रत्येमीतिकथमनुव्यवसाय इति चेन्न शीघ्रसञ्चारिमनोजनितेषु पञ्चसुस्मृत्युपनीतज्ञानेषुयौगपद्याभिमानात् । व्यासङ्गोऽपिकरणधर्म्माधीन इति चेन्न उक्तोत्तरत्वात्, बुभुत्साधीनो व्या-सङ्ग इति चेन्न सर्व्वबुभुत्सायां सर्वविषयकसर्व्वोदयप्रस-ङ्गात् बुभुत्साया अपि अभिमतार्थग्राहीन्द्रियमनःस-ब्बन्धमात्रफलकत्वात् तस्माज्ज्ञानायौगपद्यान्यथानुपपत्त्यासिध्यति अणु मनः । ततोधर्म्मिग्राहकमानबाधिताःवैभबहेतवः । किञ्च मनोवैभवे पादे मे सुखं शिरसि मेवेदनेति प्रादेशिकत्वं सुखादीनां न स्यात् विभुकार्य्याणाम-समवायिकारणावच्छिन्नदेशे उत्पादनियमात् । तवापिसुखादीनामणुदेशापत्तिरिति चेन्न असमवायिकारणं विभुका-र्य्यं स्वदेशे जनयत्येवेति नियमात् । तथाच निमित्तचन्दना-द्यवच्छेदादधिकदेशेऽपि जननाविरोधात् । ममापि निमि-त्तसमबधानानुरोध इति चेन्न उक्तनियमभङ्गप्रसङ्गात्किञ्चात्मना विभुनो मनसः संयोगोऽपि कथं स्यात्,अजोऽसाविति चेन्न विभागस्याप्यजत्वप्रसङ्गात्, अवच्छेदभेदेनो-भावप्यविरुद्धाविति चेन्न संयोगविभागयोरवच्छेदभेदस्यस्वकारणाधीनत्वात् अजयोस्तु तदभावादितिदिक् १ । ननुसुखाद्युपलब्धिः करणसाध्या क्रियात्वात् रूपोपलब्धिव-दित्याद्यनुमानात् युगपज्ज्ञानानुत्पत्त्या वा यन्मनः सिद्धंतत्करणतया, तथाच तस्य द्रव्यत्वं नित्यत्वञ्च कुत इत्यतआह । यथाऽवयविद्रव्यानुमितो वायुपरमाणुर्गुणकत्वात्क्रियावत्त्वाच्च द्रव्यम्, तथा युगपज्ज्ञानानुत्पत्त्याऽनुमितंमनो गुणवत्त्वाद्द्रव्यं, नहि तस्य इन्द्रितसंयोगमन्तरेणज्ञानोत्पादकत्वं येन गुणवत्त्वं न स्यात् । किञ्च सुखादिसा-क्षात्कारः इन्द्रियकरणकः साक्षात्कारत्वात् रूपादिसाक्षा-त्कारवदिन्द्रियत्वेन मनः सिद्धम्, इन्द्रियत्वञ्च ज्ञानकारण-मनःसंयोगाश्रयत्वमित्थयत्रसिद्धमेव मनसोद्रव्यत्वम्, नित्य-त्वञ्च तस्यानाश्रितत्वात्, तस्यावयवकल्पनायां प्रमाणाभावा-दमाश्रितत्वमिति २ । तत् किं प्रतिशरीरमेकमनेकं येतिसन्देहे निर्णायकमाह । मनः प्रतिशरीरमिति शेषः यद्ये-कैकस्मिन्नपि शरीरे बहूनि मनांसि स्युस्तदा ज्ञानप्रय-त्नानां यौगपद्यं स्यात् । यत्तु नर्त्तकीकरचरणाङ्गुलीषुप्ररोहयति भग्नञ्च करचरणादि संरोहयति तथा चगृहपतिरिव देहस्याप्यथिष्ठाता सिध्यतीति । एवं मनोग-तिरप्यात्मलिङ्गं तथा हि मनस्तावन्मूर्त्तमणु चेति पूर्व्वप्रक-रणे साधितम्, तस्य चाभिमतविषयग्राहिणि इन्द्रिये निवे-शनम् इच्छाप्रणिधानाधीनम्, तथा च यस्येच्छाप्रणिधानेमनः प्रेरयतः स आत्मेत्यनुमीयते यथा गृहकोणाव-स्थितोदारकः कन्दुकं लाक्षागुटकं वा गृहाभ्यन्तर एवइतस्ततः प्रेरयति । ननु दारुपुत्रनर्त्तयिता गृहपति र्दा-रको वा न शरीरादन्यो यो दृष्टान्तः स्यात् किञ्च शरीर-मेव चैतन्याश्रयः अहङ्कारास्पदत्वात्, भवति हि गौरोऽहंस्थूलोऽहमित्याद्यहङ्कारसामानाधिकरण्येन प्रत्ययः ।यत्तु बाल्येऽनुभूतं यौवने वार्द्धके वा स्मरति तत्र चैत्र-मैत्रवच्छरीरभेदेऽपि स्मरणं न स्यात् “नान्यदृष्टं स्मरत्यन्य”इति तत्र चैत्रमैत्रयोर्भिन्नसन्तानत्वेन प्रतिसन्धानं माऽस्तुबाल्यकौमारभेदेऽपि सन्तानैकत्वात् कार्य्यकारणभावेनप्रतिसन्धानमुपपत्स्यत इति । तत्र ब्रूमः पित्राऽनुभूतस्यपुत्रेणापि स्मरणप्रसङ्गः, तत्र शरीरभेदग्रहोबाधक इतिचेत् वृद्धेन बालशरीराद्भेदेनैव स्वशरीरस्य ग्रहात् प्रति-सन्धानानुपपत्तेः अनुपलब्धपितृकस्य बालस्य शरीरभे-दाग्रहस्यापि सत्त्वात् । मम शरीरमिति ममकारसामा-न्येनाहङ्कारस्य भानात् । ममात्मेत्यत्रापि तथैति चेन्नतत्र ममकारस्यौपचारिकत्वात् राहोः शिर इति वदभेदे-ऽपि षष्ठ्युपपत्तेः । हिंसादिफलञ्च कर्त्तरि न स्यात्शरीरस्यान्यान्यत्वात्, पातकमिच्छतोभूतचैतनिकस्यकृतहानमकृताभ्यागमश्च दोष इति दिक् । इन्द्रियान्तरवि-कारात् खल्वपि दृश्यते हि नागरङ्गस्य चिरविल्लस्य वारूपविशेषसहचरितं रसविशेषमनुभूय पुनस्तादृशं फलमु-पलभमानस्य रसगर्द्धि प्रवर्त्तितो दन्तोद्रकसंप्लवः, स चनाम्लरसानुमितिमन्तरेण, अनुमिति र्न व्याप्तिस्मृतिमन्तरेण,सा च न संस्कारं विना, स च न व्याप्त्यनुभवमन्तरेण,स च न भूयोदर्शनमन्तरेणेति इयं ज्ञानपरम्परा नैकंकर्त्तारमन्तरेण कार्य्यकारणभूता सम्भवतीति तथा चगौतमीयं सूत्रम् “इन्द्रियान्तरविकारात्” इति । सुखादयश्चज्ञानवदेवात्मलिङ्गानि द्रष्टव्याः । तथाहि सुखादिकं क्वचि-दाश्रितं द्रव्याश्रितं सामान्यतोदृष्टमेव अष्टद्रव्यातिरिक्त-द्रव्याश्रितत्वं विषयीकरोति न हि पृथिव्याद्यष्टकानाश्रिताइच्छा द्रव्याश्रितेति प्रतिज्ञा अष्टद्रव्यातिरिक्तद्रव्याश्रितत्वंप्रकारमनादाय पर्य्य वस्यति यत्र तु त्प्रथमं न बाधावता-रस्तत्राष्टद्रव्यातिरिक्तद्रव्याश्रितत्वं व्यतिरेकिसाध्यमितिभावः । व्यापकतावच्छेदकप्रकारिकैवानुमितिरिति तुतुच्छम्, येन विना प्रतीतिर्न पर्य्यवस्यति तस्यैव तत्रप्रकारत्वात् अन्यथा द्व्यणुकं कार्य्यानाश्रितं सत् क्वचिदा-श्रितम् अवयवित्वादित्यादावकार्य्याश्रितत्वप्रकारिकाऽनुमितिर्न स्यात् ४ । ननु सिद्ध्यतु आत्मा स्थिरः, स तु नित्य इतिकुतः, कुतश्च द्रव्यमित्यत आह । यथा वायुपरमाणोरवयव-कल्पनायां न प्रमाणमतोनित्यत्वं तथात्मनोऽपि, यथागुणवत्त्वाद्वायुपरमाणुर्द्रव्यं तथात्माऽपीत्यर्थः ५ । पूर्व्व पक्षमाह ।सन्निकर्षेसति अयं यज्ञदत्त इति प्रत्यक्षं नास्ति चेत्तदा दृष्टं प्रत्यक्षतो गृहीतव्याप्तिकं लिङ्गं नास्ति, यथावह्निना प्रत्यक्षेण सहचरितो गृहीतो धूमो वह्नौ दृष्टंलिङ्गं तथात्मसाधकं लिङ्गं दृष्टं नास्तीत्यर्थः ६ । ननु प्रत्य-क्षदृष्टव्याप्तिकस्य दृष्टलिङ्गस्याभावेऽपि सामान्यतोदृष्टमेवलिङ्गं भविष्यति नहि ततो नानुमितिरित्याशङ्क्य पुनः पूर्व-पक्षी आह । सामान्यतोदृष्टमपि लिङ्गं भवति न तु ततआत्मत्वेन अष्टद्रव्यातिरिक्तद्रव्यत्वेन वा स्यादात्मसिद्धिःकिन्तु तेनेच्छादीनां क्वचिदाश्रितत्वमात्रं सिद्ध्येत् तच्चनात्ममननौपयिकमित्यथः तदेतदाह अविशेष इति ७ । तत्किं “योऽपहतपाप्मा स आत्मा” इत्याद्यागमोऽनर्थकएवेत्याशङ्क्य म एवाह । आगममात्रसिद्ध एवात्मा न त्वनुमेयःदृष्टसामान्यतोदृष्टयोर्लिङ्गयोरभावात् तस्मात् सम्यगुपनि-षदां श्रवणात् तत्त्वसाक्षात्कार उत्पद्यते न तु मननप्र-णालिकया, तथाच मननप्रयोजनकमिदं तन्त्रमतन्त्रम्,दृष्टं हि भूतदशकनदीसन्तरणादावुपदेशमात्रादेव साक्षा-त्कारि ज्ञानम्८ । तदेवं त्रिभिः सूत्रैः पूर्व्वपक्षे सिद्धान्त-वाद्याह । नागममात्रं प्रमाणमात्मनि, कित्त्वहमितिपदमात्मपदं वा साभिधेयं पदत्वात् घटादिपदवत् इत्यनुमा-नादप्यात्मसिद्धिः । ननु पृथिव्याद्येव तदभिधेयं स्यादि-त्यत आह व्यतिरेकादिति पृथिव्यादितोऽहमिति पदस्यव्यतिरेकाद्व्यावृत्तेरित्यर्थः । नहि भवत्यहं पृथिवीअहमापः अहन्तेजः अहं वायुः अहमाकाशम् अहं कालःअहं दिक् अहं मन इति व्यपदेशः, प्रत्ययो वा । शरीरेभवतीति चेन्न परशरीरेऽपि तत्प्रसङ्गात्, स्वशरीरे भवतीतिचेन्न स्वस्यात्मभिन्नस्यानिरुक्तेः मम शरीरमिति वैयधिकर-ण्येन प्रत्ययाच्च । नन्विदमपि सामान्यतोदृष्टमेव तच्च विशे-षापर्य्यवसन्नमिति दूषितमेवेति चेन्न अहम्पदेऽहन्त्वमात्म-त्वमेव प्रकारः तथा च पक्षधर्म्मताबलादेवाऽहन्त्वस्य प्रवृत्ति-निमित्तत्वं पर्य्यवसन्न तच्चानन्यसाधारणमेवेति विशेषसिद्धेःएवं सामान्यतोदृष्टादपि बाधसहकृताद्विशेषसिद्धिः । यच्चोक्तंश्रवणादेव साक्षात्कारः किं मननेनेति तदयुक्तम् नहिमननमन्तरेण सङ्कशुकस्याश्रद्धामलक्षालनम्, नच तदन्तरेण तत्रनिदिध्यासनाधिकारः, नच निदिध्यासनमन्तरेण सवासन-मिथ्याज्ञानोन्मूलनक्षमस्तत्त्वसाक्षात्कारः, अभ्यासादेव हिकामातुरस्याकस्मात् कामिनीसाक्षात्कारः, नहि शाब्दमा-नुमानिकं वा ज्ञानं मिथ्याज्ञानोन्मूलनक्षमं दिङ्मोहादौदृष्टमिति भावः । ननु तथापि परोक्षे आत्मनि कथं सङ्के-तग्रह इति चेत् क एवमाह नात्मा प्रत्यक्ष इति, किन्तुमनसा संयोगप्रत्यासत्त्यात्मग्रहः । कथमन्यथाऽहं सुखीजानामीच्छामि यते दुःखीत्यादिप्रत्ययः नह्ययमवस्तुकःसन्दिग्धवस्तुको वा, नीलादिप्रत्ययवत् अस्यापि निश्चित-वस्तुकत्वात्, नच लैङ्गिकः, लिङ्गज्ञानमन्तरेणापि जायमा-यत्वात्, नापि शाब्दः, तदनुसन्धानाननुविधानात्, प्रत्यक्षा-भासोऽयमिति चेत्, तर्हि क्वचिदनाभासविषयोऽपि । नह्य-प्रमितमारोप्यते इत्यावेदयिष्यते९ । एवञ्चेत् किमनुमा-नेनेति पूर्ब्बपक्षवादी आह । इतिशन्दो ज्ञानप्रकारमाहदृष्टमिति भावे--क्तप्रत्ययान्तम्, अन्वक्षमित्यध्यक्षं तेनाय-मर्थः अयं देवदत्तः अयं यज्ञदत्त इति प्रकारकं दृष्टंदर्शनं अध्यक्षमेवास्ति यदि किमनुमानप्रयासेन “नहिकरिणि दृष्टे चीत्कारेण तमनुमिमतेऽनुमातारः” १० । अत्रसिद्धान्त्याह । दृष्टे प्रत्यक्षेण गृहीते आत्मनि ङ्गे सम्भू-तसामग्रीके सति एक एव एकवैषयिक एव प्रत्ययः । प्रत्ययइति निरस्तसमस्तविभ्रमाशङ्कित्वमाह, कुत एवंमित्यत आहदृढत्वात् प्रभाणसंप्लवेनान्यथाभावशङ्कानिवर्त्तनपटुत्वात्,तत्र दृवृन्तमाह् प्रत्यक्षवदिति यथा दूरात्तोयप्रत्यक्षेसत्यपि संवादार्थं बलाकालिङ्गेनाऽपि तदनुमानं तदुक्तम्“प्रत्यक्षपरिकलितमप्यर्थमनुमानेन बुभुत्सन्ते तर्करसिकाः”इति, इदमत्राकूतम् यद्यात्मा कदाचित् प्रत्यक्षे चैतसेभासत एव तथापि अहं गौरः अहं कृश इत्यादिवि-रोधिप्रत्ययान्तरतिरस्कृतो न तथा स्थेमानमासादयतिविद्युत्सम्पातसञ्जातज्ञानवत्, तत्र लिङ्गेन अनन्यथासिद्धेनज्ञानान्तरमुत्पद्यमानं पूर्ब्बज्ञानमेव स्थिरीकरोति । किञ्च“श्रोतव्यो मन्तव्य” इत्यादिविधिबोधितस्यात्ममननस्य इष्ट-साधनत्वावगतौ अनुमित्सयाऽवश्यमात्मन्यनुमानप्रवृत्तिःतद्व्यतिरेके निदिध्यासनासम्भवे साक्षात्काराभावेऽपर्गास-म्भवादिति भावः । अहं देवदत्तोऽहं यज्ञदत्त इति प्रती-तिद्वयाभिधानमात्मनः प्रत्यात्मवेदनीयत्व’ सूचयितुम् ११ ।ननु यदि यज्ञदत्तोऽहमिति प्रत्यय आत्मनि तदा यज्ञ-दत्तो गच्छतीति गमनसामानाधिकरण्यभानमनुपपन्नमि-त्यत आह । अस्ति हि अहं गौरः अहं स्थूल इतिप्रत्ययः अस्ति च मम शरीरमिति भेदप्रत्थयः तत्र देवदत्तोगच्छतीति गतिसामानाधिकरण्यानुभवो व्यवहारश्च भाक्तः,ममेति प्रत्ययस्य यथार्थत्वात् यद्यपि देवदत्तत्वं शरीरवृत्ति-र्जातिस्तेन देवदत्तो गच्छतीति मुख्य एव प्रयोगे यथार्थएव च प्रत्ययः । तथापि देवदत्तपदं तदवच्छिन्नात्मनि प्रयु-क्तञ्चेत् तदौपचारिकं बोद्धव्यम् १२ । अत्र शङ्कते । तुशब्दःपूर्व्वपक्षद्योतकः । आत्मशरीरयोस्तावदहमिति प्रत्ययःप्रयोगश्च दृश्यते तत्र क्व मुख्यः क्व वौपचारिक द्रति सन्देहः १३ ।समाधत्ते । र्थान्तरमात्मस्वरूपं प्रत्यक्षं यत्र प्रत्यये स प्रत्य-योऽर्थान्तरप्रत्यक्षः । अयमथः अहमिति प्रत्ययस्य प्रत्य-गात्मनि स्वात्मनि भावाद् परत्र परात्मनि अभावात्अर्थान्तरे स्वात्मन्येव मुख्यः कल्पषितुमुचितः यदि तुशरीरे मुख्यः स्यात् तदा वहिरिन्द्रियग्राह्यः स्यात् न हिशरीरं मानसप्रत्यक्षं मानसश्चायमहमिति प्रत्ययः बहिरि-न्द्रियव्यापारमन्तरेणापि जायमानत्वात् अहं दुःखी अहंसुखी जाने यते इच्छाम्यहमिति योग्यविशेषगुणोपहि-तस्यात्मनो मनसा विषयीकरणात्, नायं लैङ्गिको लिङ्गा-नुसन्धानमन्तरेणापि जायमानत्वात्, न शाब्दः शब्दाकल-नमन्तरेणापि जायमानत्वात्, तस्मान्मानस एव । मनसश्चबहिरस्वातन्त्र्येण शरीरादावप्रवृत्तेरिति भावः । किञ्चयदि शरीरे स्यात्, परशरीरे स्यात्, स्वात्मनि यदि स्यात्तदापि परात्मनि स्यादिति चेन्न परात्मनः परस्याती-न्द्रियत्वात् तद्विशेषगुणानामयोग्यत्वात् योग्यविशेषगुणो-पग्रहेण तस्य योग्यत्वात्, न केबलमात्मन इदं शीलंकिन्तु द्रव्यमात्रस्य, द्रव्यं हि योग्यविशेषगुणोपग्रहेणैवप्रत्यक्षं भवति । आकाशमपि तर्हि शब्दोपग्रहेण प्रत्यक्षंस्यादितिचेत् स्यादेवं यदि श्रोत्रं द्रव्यग्राहकं भवेन्,आकाशं वा रूपवत् स्यात् । आत्मनोऽपि नीरूपत्वं तुल्यमितिचेत् बहिर्द्रव्यमात्र एव प्रत्यक्षतां प्रति रूपवत्त्वस्य तन्त्र-त्वात्, प्रत्यगित्थयं शब्दोऽन्यव्यावृत्तमाह १४ । पुनः शङ्कते ।अहङ्कारोऽहमिति प्रत्ययः स च शरीरप्रत्थक्षः शरीरंप्रत्यक्षं विषयो यत्र स शरीरप्रत्यक्षः । देवदत्तो गच्छ-तीत्युपचारात्तावत् प्रयोगः प्रत्ययो वा त्वया समाहितःसचोपचार आभिमानिकः यतोऽहं गौरः अहं कृशःसौभागिनेयोऽहं पुनरुक्तजन्मेत्यादयः प्रत्ययाः प्रयोगाश्चो-पचारेण समन्वयितुमशक्या इत्यर्थः १५ । सिद्धान्तभाह ।तुशब्दोऽयं सिद्धान्तमभिव्यनक्ति । उपचारोऽयमाभिमानिकःकिन्तु शरीर एवायमहम्प्रत्यय इति यदुक्तं तत्रापि सन्देहएवेत्यर्थः तथाच प्रत्ययस्योभयत्रापि कूटसाक्षित्वेन विशे-षावधारणाय यतितव्यं तत्र यत्ने क्रियमाणे निमीलि-ताक्षस्याप्यहमिति प्रत्ययदर्शनात् शरीरभिन्ने बहिरिन्द्र-यागोचरे वस्तुनि स मन्तव्यः, शरीरे भवन् परशरी-रेऽपि स्यात् चक्षुर्नैरपेक्ष्येण च न स्यात् । अहं कृशः स्थूलोवा सुखीति कथं सामानाधिकरण्यमिति चेन्न सुखाद्यव-च्छेदकत्वेनापि तत्र शरीरभानसम्भवात् सिंहनादवदिदंगहनमितिवत्, अहन्त्वमात्रं शरीरे समारोप्यते मनसोप-स्थितम्, त्वगिन्द्रियोपनीतमौष्ण्यम् उष्णं जलम् उष्णंशरीरमितिवत् १६ । सिद्धान्तमुवृंहयन्नाह । ज्ञानमिति योम्यंसुखदुःखादिकमात्मगुणमुपलक्षयति, यथा यज्ञदत्तविष्णु-मित्रयोः शरीरं परस्परभिन्नं तथा ज्ञानसुखादिकमपिभिन्नमेव तथा च यथा यज्ञदत्तस्येदं शरीरं तथा यज्ञदत्तस्यज्ञाने सुखादौ वाऽनुत्पन्ने अहं सुखी जाने यते इच्छा-मीति ज्ञानादिकं विषयो भवति योग्यशरीरबिषयकत्वेनतदीयरूपादिवत्तदीयज्ञानादीनामपि प्रत्यक्षत्वसम्भवात् न चसम्भवति, तस्मात् ज्ञानसुखादीनां शरीरादन्य एवाश्रयोवक्तव्य इति भावः । शरीरविशेषात् शरीरस्य भेदादि-त्यर्थः तथा च शरीरभेदं प्राप्य ज्ञानं, न तु विषय इतिल्यल्लोपे पञ्चमी १७ । नन्वात्मा न प्रत्यक्षः नीरूपद्रव्यत्वात्निरवयवद्रव्यत्वाद्वा आकाशवत्, यथा चाह कृशो गौरइति बुद्धेः शरीरमेव विषयो वाच्यः, क्वचिदहं सुखी-त्यादिधीरपि यद्यप्यस्ति, तथाप्याश्रयमन्तरेण भासमानानांसुखादोनां शरीरे समारोप इत्येव कल्पमितुमुचितम्,यथोष्ण सुरभि जलम् इत्याश्रयमन्तरेण प्रतीयमानयो-रौष्ण्यसौरभयोर्जले समारोपः, नत्वेतदनुरोधेन जलप्र-त्ययस्यापि प्रसिद्धजलमन्तरेणान्यविषयत्वम्, तथाऽहमित्थ-प्यहन्त्वं शरीर एव वास्तवम्, सुखादिकन्तु कदाचित्त-त्रारोप्यते तेनात्मनि प्रत्यक्षाकारं ज्ञानं नास्त्येव सुखाद्य-धारत्वेन यत्कल्पनीयं तदागमसिद्ध भवतु न तत्रापि ग्रहइत्यत आह । अयमर्थः अहं सुखी अहं दुःखीति प्रत्ययोनागमिको न शाब्दो नापि लैङ्गिकः शब्दलिङ्गयोरनुसन्धा-नमन्तरेणापि जायमानत्वात् प्रत्यक्षत्वे च नीरूपत्वनिरवयवत्वञ्च यद्बाधकमुक्तं तद्बहिरिन्द्रियप्रत्यक्षतायां भवतितत्र हि रूपवत्त्वानेकद्रव्यवत्त्वयोः प्रयोजकत्वात्, मानसप्र-क्षता च तदन्तरेणापि । ननु स्यादेवं यद्यात्मनि प्रमाणंस्यात् तदेव तु नास्तीत्यत आह शब्दवद्व्यतिरेकाव्यभिचारा-द्विशेषसिद्धेरिति यथा क्षित्यादिषु द्रव्येषु शब्दस्य व्यतिरे-कोऽव्यभिचारी नियतस्तेन तदाश्रयस्याष्टद्रव्यातिरिक्तस्या-काशरूपस्य विशेषस्य सिद्धिः एवमिच्छायाः पृथिव्यादिषुव्यतिरेकस्याव्यभिचारात् तदाश्रयेणापि अष्टद्रव्यातिरिक्तेनभवितव्यम् । नन्वेतावताऽप्यानुमानिक एव आत्मा न तुप्रत्यक्ष इत्यत आह अहमिति मुख्ययोग्याभ्यामितिअहमितीतिकारेण ज्ञानाकारमाह तेनाहमिति ज्ञानंशब्दलिङ्गानुसन्धानमन्तरेण निमीलिताक्षस्य यदुत्पद्यतेतत्मुख्येन अहन्त्ववता योग्येन प्रमाणसिद्धेन उपपादनी-यम्, न तु शरीरादिना, तत्रेच्छाया व्यतिरेकस्य व्यभिचारात्अभावात् । मुख्ययोग्याभ्यामित्यनन्तरम् उपपादनीयमितिपूरणीयम् आत्मनि प्रमाणानि बहूनिसन्ति ग्रन्थगौरवभियानोक्तानि मयूखेऽन्वेष्टव्यानि १८ । आत्मपरीक्षाप्रकरणं समाप्यइदानीमात्मनानात्वप्रकरणमारभते तत्र पूर्व्वपक्षसूत्रम् ।एक एव आत्मा चैत्रमैत्रादिदेहभेदेऽपि, कुतः सुखदुःख-ज्ञानानां निष्पत्तेरुत्पत्तेरविशेषात् सर्व्वशरीरावच्छेदेनसुखदुःखज्ञानानामुत्पत्तिरविशिष्टैव यतः यद्यात्मभेद-साधकं लिङ्गान्तरं भवेत्तदा सिद्ध्येदात्मभेदः, न च तदस्ति,यथा तत्तत्प्रदेशावच्छेदेन शब्दनिष्पत्तावपि शब्दलिङ्गावि-शेषादेकमेवाकाशम् यौगपद्यादिप्रत्ययलिङ्गाविशेषादेक एवकालः पूर्व्वापरादिप्रत्ययलिङ्गाविशेषादेकैव दिक् १९ । सिद्धा-न्तमाह । नाना आत्मानः कुतः? व्यवस्थातः व्यवस्थाप्रतिनियमः । यथा कश्चिदाढ्यः, कश्चित् रङ्कः, कश्चित् सुखी,कश्चिद्दुःखी, कश्चिदुच्चामिजनः, कश्चिनोचाभिजनः,कश्चिद्विद्वान्, कश्चित् जाल्म इतीयं व्यवस्था आत्मभेदमन्त-रेणापद्यमाना साधयत्यात्मनां भेदेम्, न च जन्मभे-देन बाल्यकौमारवार्द्धक्यभेदेन वा, एकस्याप्यात्मनो यथाव्यवस्था तथा चैत्रमैत्रादिदेहभेदेऽपि स्यादिति वाच्यंकालभेदेन विरुद्धधर्म्माध्याससम्भबात्” २० । उपस्करःसांख्यसूत्रभाष्ययोश्च प्रत्येकं भूतेषु चैतन्यादर्शनेनसमुदाये न चैतन्यमित्युक्तं यथा “न सांसिद्धिकंचैतन्यं प्रत्येकादृष्टेः” १ । “प्रपञ्चमरणाद्यभावश्च” २ ।“मदशक्तिवच्चेत् प्रत्येकपरिदृष्टे सांहत्ये तदुद्भवः ३” सां० सू०“देहस्य भौतिकत्वेन यत् सिध्यति तदाह । भूतेषु पृथक्कृतेषुचैतन्यादर्शनाद्भौतिकस्य देहस्य न स्वाभाविकं चैतन्यं कि-न्त्वौपाधिकमित्यर्थः १ । बाधकान्तरमाह । प्रपञ्चस्य सर्वस्यैवमरणसुषुप्त्याद्यभावश्च देहस्य स्वाभाविकचैतन्ये सति स्या-दित्यर्थः । मरणसुषुप्त्यादिकं हि देहस्याचेतनता सा चस्वाभाविकचैतन्ये सति नोपपद्यते स्वभावस्य यावद्द्रव्य-भावित्वादिति २ । प्रत्येकादृष्टेरिति यदुक्तं तत्राशङ्क्यपरिहरति । ननु यथा मादकता शक्तिः प्रत्येकद्रव्या-वृत्तिरपि मिलितद्रव्ये वर्त्तते एवं चैतन्यमपि स्यादितिचेन्न प्रत्येकपरिदृष्टे सति सांहत्ये तदुद्भवः सम्भवेत् ।प्रकृते तु प्रत्येकपरिदृष्टत्वं नास्ति । अतो दृष्टान्ते प्रत्येकंशास्त्रादिभिः सूक्ष्मतया मादकत्वे सिद्धे संहतभावकालेमादकत्वाविर्भावमात्रं सिद्ध्यति । र्दाष्टान्तिके तु प्रत्येक-भूतेषु सूक्ष्मतया न केनापि प्रमाणेन चैतन्यं सिद्धमित्यर्थःननु समुच्चिते चैतन्यदर्शनेन प्रत्येकभूते सूक्ष्मचैतन्यशक्ति-रनुमेयेति चेन्न अनेकभूतेष्वनेकचैतन्यशक्तिकल्पनायांगौरवेण लाघवादेकस्यैव नित्यचित्स्वरूपस्य कल्पनौचि-त्यात् । ननु यथावयवेऽवर्त्त मानमपि परिमाणजलाहर-णादि कार्यं घटादौ दृश्यते एवमेव शरीरे चैतन्यं स्यादितिचेत् मैवम् भूतगतविशेषगुणानां सजातीयकारणगुणज-न्यतया कारणे चैतन्यं विना देहे चैतन्यासम्भवादिति” भा०अयमात्मा सांख्यैः पुरुषशब्देनाभिधीयते ते च नाना“जन्मादिव्यवस्थातः पुरुषबहुत्वम्” सां० सूत्रात् । वेदान्त-नस्तु तस्यैकत्वेऽपि उपाधिभेदेन कर्ण्णशष्कुल्यादिभेदेनाकाश-भेदवत् नानात्वं वस्तुत एकत्वम् “इन्द्रोमायाभिः पुरुरूपईयते” “रूपंरूपं प्रतिरूपो बभूवेति” श्रुतेः अंशो-ननाव्यपदेशात्” “तद्गुणसारत्वादिति” च न्यायाच्चेति ।एतत्प्रपञ्चस्तु शा० भा० द्रष्टव्यः ।मिताक्षरायाम् देहाद्यतिरिक्तात्मास्तित्वे प्रमाणं दर्शितं यथा“भूतकैतन्यवादिपक्षम्परिजिहीर्षुराह” । “वेदैः शास्त्रैःसविज्ञानैर्जन्मना मरणेन च । आर्त्या गत्या तथाऽऽगत्या-सत्येन ह्यनृतेन च । श्रेयसा सुखदुःखाभ्याङ्कर्मभिश्चशुभाशुभैः । निमित्तशकुनज्ञानग्रहसंयोगजैः फलैः ।तारानक्षत्रसञ्चारैर्जागरैः स्वप्नजैरपि । आकाशपवनज्योतिर्जलभूतिमिरैस्तथा । मन्वन्तरयुगप्राप्त्या मन्त्रौषधि-फलैरपि । वित्तात्मानं विद्यमानम् कारणञ्जगतस्तथा” या०वेदैः “सएष नेति नेतीत्यात्मेति” “अस्थूलमनण्वह्रस्वमपा-णिपादम्” इत्यादिभिः । शास्त्रैश्चमीमांसान्वीक्षिक्यादिभिःविज्ञानैश्च ममेदं शरीरमित्यादि देहव्यतिरिक्तात्मानुभवैः । तथा जन्ममरणाभ्यां जन्मान्तरानुष्ठितधर्म्मनियताभ्यान्देहातिरिक्तात्मानुमानम् । आर्त्या जन्मान्तरगतकर्म्मानुष्ठाननियततया । तथा गमनागमनाभ्यांज्ञानेच्छाप्रयत्नाधारनियताभ्यामपि भौतिकदेहाति-रिक्तात्मानुमानम् । न हि देहस्य चैतन्यादि सम्भवति यतःकारणगुणप्रक्रमेण कार्य्यद्रव्ये वैशेषिकगुणारम्भोदृष्टः ।न च तत्कारणभूतंपार्थिवपरमाण्वादिषु चैतन्यादिसंयोगज इति वाच्यम् शक्तेःसाधारणगुणत्वादतोभौतिकदेहातिरिक्तश्चैतन्यादिसमवाय्यङ्गीकर्त्तव्यः । सत्या-नृते प्रसिद्धे । श्रेयो हितप्राप्तिः । सुखदुःखेआमुष्मिके । तथा शुभकर्म्मानुष्ठानमशुभकर्म्मपरित्यागः ।एतैश्च ज्ञाननियतैर्देहातिरिक्तात्मानुमानम् । निमित्तंभूकम्पादि शकुनज्ञानम्पिङ्गलादिपतत्रिचेष्टालिङ्गकम् ज्ञा-नम् ग्रहाःसूर्य्यादयः तत्संयोगजैः फलैः । ताराअश्विन्यादिव्यतिरिक्तानि ज्योतींषि नक्षत्राण्याश्वयु-क्प्रभृतीनि एतेषां सञ्चारैः शुभाशुभफलद्योतनैः ।जागरैर्जागरावस्थाजन्यैश्च सच्छिद्रादित्यादिदर्शनैः । तथास्वप्नजैः खरवराहयुक्तरथारोहणादिज्ञानैः । तथाआकाशाद्यैश्च जीवोपभोगार्थतया सृष्टैः । तथा मन्वन्तर-प्राप्त्या युगान्तरप्राप्त्या देहेऽनुपपद्यमानया तथा मन्त्रौ-षधिफलैः प्रेक्षापूर्ब्बकैः क्षुद्रकर्माद्यैः साक्षात्परम्परया वादेहेऽनुपपद्यमानैर्विद्यमानं हे मुनयो वित्त जानीत । किञ्च ।“अहङ्कृतिः स्मृतिर्मेधाद्वेषोबुद्धिः सुखं धृतिः । इन्द्रि-यान्तरसञ्चार इच्छा धारणजीविते । स्वर्गः स्वप्नश्च भावाना-म्प्रेरणं मनसागतिः । निमेषश्चेतना यत्न आदानम्पाञ्च-भौतिकम् । यत एतानि दृश्यन्ते लिङ्गानि परमात्मनः ।तस्मादस्ति परोदेहादात्मा सर्वग ईश्वरः” या० । अहङ्कृतिःअहङ्कारः । स्मृतिः प्राग्भवीयानुभवभावितसंस्कारोद्बोधनिबन्धना स्तन्यपानादिगोचरा । सुखमैहिकम् । धृति-र्धैर्यम् । इन्द्रियान्तरेण दृष्टेऽर्थे इन्द्रियान्तरस्य सञ्चारःयमहमद्राक्षन्तमहंस्पृशांमीत्येवमनुसन्धानरूप इन्द्रियान्तर-सञ्चारः । अत्रेच्छाप्रयत्नचैतन्यानां स्वरूपेण लिङ्गत्वम् ।पूर्ब्बश्लोकेऽनुगमनसत्यवचनादिहेतुतयार्थिकम् लिङ्गत्व-मित्यपौनरुक्त्यम् । तथा धारणं शरीरस्य, जीवितं प्राण-धारणम् । स्वर्गोनियतदेहान्तरोपभोग्यः सुखविशेषः ।स्वप्तः प्रसिद्धः पूर्ब्बश्लोके तु स्वप्नस्य शुभफलद्योतकतयालिङ्गत्वमत्र स्वरूपेणेत्यपौनरुक्त्यम् । भावानामिन्द्रिया-दीनाम्प्रेरणं मनसोगतिश्चेतनाधिष्ठानव्याप्ता । निमेषःप्रसिद्धः तथा पञ्चभूतानामुपादानम् । यस्मादेतानि लिङ्गा-नि भूतेष्वनुपपन्नानि साक्षात्परम्परया वात्मनोद्योतकानिदृश्यन्ते । तस्मादस्ति देहातिरिक्त आत्मा सर्वग ईश्वर इतिसिद्धम्” इत्यन्तेन मिता० ।देहात्मनोः स्वभावभेदपर्य्यालोचनयाऽपि न यथा तयोरैक्यंतथा दर्शितं विवेकचूड़ामणौ “देहोऽयमन्नभवनोऽन्नमयस्तुकोषश्चान्नेन जीवति विनश्यति तद्विहीनः । त्वक्चर्म्ममांस-रुधिरास्थिपुरीषराशिर्नायं स्वयं भवितुमर्हति नित्य-शुद्धः । पूर्व्वं जनेरपि मृतेरधुनायमस्ति जातक्षणःणगुणोऽनियतस्वभावः । नैकोजड़श्च घटवत्परिदृश्य-मानः स्वात्मा कथं भवति भावविकारवेत्ता । पाणि-पादादिमान् देहो नात्मा व्यङ्ग्येऽपि जीवनात् । तत्त-च्छक्तेरनाशाच्च न नियम्योनियामकः । देहतद्धर्म्म-तत्कर्म्मतदवस्थादिसाक्षिणः । स्वतएव स्वतः सिद्धंतद्वैलक्षण्यमात्मनः । शल्यराशिर्मांसलिप्तो मलपूर्णोऽति-कष्मलः । कथं भवेदयं वेत्ता स्वयमेतद्विलक्षणः ।त्वङ्मांसमेदोऽस्थिपुरीषराशावहंमतिं मूढजनः करोति ।बिलक्षणं वेत्ति विचारशीलो निजस्वरूपं परमार्थभू-तम् । देहोऽहमित्येव जडस्य बुद्धिर्देहे च जीवा-विदुषस्त्वहंधीः । विवेकविज्ञानवतोमहात्मनो ब्रह्माह-मित्येव मतिः सदात्मनि । अत्रात्मबुद्धिं त्यजमूढबुद्धे! त्वङ्मांसमेदोस्थिपुरीषराशौ । सर्ब्बात्मनिब्रह्मणि निर्विकल्पे कुरुष्व शान्तिं परमां भजस्व ।देहेन्द्रियादावसति भ्रमोदितां विद्वानहन्तां न जहातियावत् । तावन्न तस्यास्ति विमुक्तिवार्त्ताप्यस्त्वेषवेदान्तनयान्तदर्शी । छायाशरीरे प्रतिविम्बगात्रे यत्स्वप्नदेहे हृदि कल्पिताङ्गे । यथात्मबुद्धिस्तव नास्तिकाचित् जीवच्छरीरे च तथैब मास्तु । देहात्मधीरेवनृणामसद्धियां जन्मादिदुःखप्रभवस्य वीजम् । यतस्ततस्त्वंजहि तां प्रयत्नात् त्यक्तेऽद्य चित्ते न पुनर्भवाशा” ।आत्मस्वरूपमुक्तं विवेकचूड़ामणौ “अस्ति कश्चित्स्वयं नित्यमहंप्रत्ययलम्बनः । अवस्थात्रयसाक्षी सन्पञ्चकोषबिलक्षणः । योविजानाति सकलं जाग्रत्-स्वप्नसुषुप्तिषु । बुद्धितद्वृत्तिसद्भावमभावमहमित्ययम् । यःपश्यति स्वयं सर्व्वं यं न पश्यति कश्चन । यश्चेतयतिबुद्ध्यादिं न तु यं चेतयत्ययम् । येन विश्वमिदं व्याप्तं यन्नव्याप्नोति किञ्चन । आभारूपमिदं सर्वं यं भान्तमनुम्पत्य-यम् । यस्य सन्निधिमात्रेण देहेन्द्रियमनोधियः । विषयेषुस्वकीयेषु वर्त्तन्ते प्रेरिता इव । अहङ्कारादिदेहान्ताविषयाश्चसुखादयः । वेद्यन्ते घटवद्येन नित्यबोधस्वरूपिणा ।एषोऽन्तरात्मा पुरुषः पुराणोनिरन्तराखण्डसुखानुभूतिः ।सदैकरूपः प्रतिबोधमात्रो येनेषिता वागसवश्चरन्ति ।अत्रैव सत्यात्मनि धीगुहायामव्याकृताकाशौरुप्रकाशः ।आकाश उच्चैरविवत् प्रकाशते स्वतेजसा विश्वमिदं प्रका-शयन् । ज्ञाता मनोऽहङ्कृतिविक्रियाणां देहेन्द्रियप्राणकृत-क्रियाणाम् । अयोऽग्निवत्ताननुवर्त्तमानो न चेष्टते नोविकरोति किञ्चन । न जायते नो म्रियते न वर्द्धतेन क्षोयते नो विकरोति नित्यः । विलीयमानेऽपि वपुष्यमु-ष्मिन् न लीयते कुम्भैवाम्बरं स्वयम् । प्रकृतिविकृतिभिन्नःशुद्धबोधस्वभावः सदसदिदमशेषं भासयन्निर्विशेषः ।विलसति परमात्मा जाग्रदादिष्ववस्थास्वहमहमिति साक्षात्साक्षिरूपेण बुद्धेः । नियमितमनसामुं त्वं स्वमात्मानमात्म-ज्ययमहमिति साक्षाद्विद्धि बुद्धिप्रसादात् । जनिमरणतर-ङ्गापारसंसारसिन्धुं प्रतर भव कृतार्थो ब्रह्मरूपेण संस्थः ।अत्रानात्मन्यहमिति मतिर्बन्ध एषोऽस्य पुंसः प्राप्तोऽज्ञा-नाज्जननमरणक्लेशसंपातहेतुः । येनैवायं वपुरिदमसत्सत्थमित्यात्मबुद्ध्या पुष्यत्युक्षत्यवति विषयैस्तन्तुभिः कोशकृद्वत् ।अतस्मिंस्तद्बुद्धिः प्रभवति विमूढस्य तमसा विवेकाभावाद्वै स्पुरतिभुजगे रज्जुघिषणा । ततोऽनर्थव्रातो निपतति समादातुरधिकस्ततो योऽसद्ग्राहः स हि भवति बन्धः शृणु सखे! ।अखण्डनित्याद्वयबोधशक्त्या स्फुरन्तमात्मानमनन्तवैभवम् ।समावृणोत्यावृतिशक्तिरेषा तमोमयी राहुरिवार्कविम्बम् ।तिरोभूते स्वात्मन्यमलतरतेजोवति पुमाननात्मानं मोहाद-हमिति शरीरं कलयति । ततः कामक्रोधप्रभृतिभिरमुंबन्धनगुणैः परं विक्षेपाख्या रजस उरुशक्तिर्व्यथयति ।महामोहग्राहग्रसनगलितात्मावगमनो धियोनानावस्थां-यमभिनयंस्तद्गुणतया । अपारे संसारे विषयविषपूरेजलनिधो निमज्ज्योन्मज्ज्यायं भ्रमति कुमतिः कुत्सि-तगतिः । भानुप्रभासञ्जनिताब्भ्रपङ्क्तिर्भानु तिरोधायविजृम्भते यथा । त्मोदिताहङ्कृतिरात्मतत्त्वं तथातिरोधाय विजृम्भते स्वयम्” ।शरीरमध्ये आत्मध्यानस्थानं स्वरूपञ्च या० स्मृतौ मिता-क्षरायाञ्चोक्तम् । “द्वासप्ततिसहस्राणि हृदयादभिनिःसृताः । हिताहिता नाम नाड्यस्तासां मध्ये शशिप्रभम् ।मण्डलन्तस्य मध्यस्थ आत्मा दीपैवाचलः । सज्ञेयस्तंविदित्वेह पुनराजायते न तु” या० । “हृदयप्रदेशा-दभिनिःसृताः कदम्बकुसुमकेशरवत्सर्ब्बतो निर्गता हिता-हितकरत्वेन हिताहितेति संज्ञा द्वासप्नतिसह-स्राणि नाड्यो भवन्ति । अपरास्तिस्रोनाड्यस्तासामिडा-पिङ्गलाख्ये द्वे नाड्यौ सव्यदक्षिणपार्श्वगते हृदिविपर्य्यस्ते नासाविवरसम्बद्धे प्राणापानायतने । सुषुम्णाख्यापुनस्तृतीया दण्डवन्मध्ये ब्रह्मरन्ध्रविनिर्याता । तासांनाडीनां मध्ये मण्डलञ्चन्द्रप्रभम् । तस्मिन्नात्मा निवा-तस्थदीपैवाचलः प्रकाशमान आस्ते । सएवम्भूतो ज्ञा-तव्यः । यतस्तत्साक्षात्करणादिह संसारे न पुनः संसरत्यमृतत्वम्प्राप्नोति” मिता० ।आत्मशब्दनिर्वचनञ्च वेदान्तमुक्तावल्याम् “यदाप्नोतियदादत्ते यच्चात्ति विषयान् बहून् । यच्चास्य सन्ततोभाव-स्तस्मादात्मेति कथ्यते” अन्यत्र च “प्रत्यग्रूपः पराग्रूपात्व्यावृत्तोऽनुभवात्मकः । प्रथते यः स आत्मेति प्राहुरात्म-विदोजनाः इति” स च पञ्चधा । “भूतात्मा चेन्द्रियात्मा चप्रत्यगात्मा तथा भवान् । आत्मा च परमात्मा च त्वमेकःपञ्चधा मत” इत्येकस्यैवात्मनो भूतादिषु अधिष्ठानत्वेनाव-स्थितेः पञ्चविधत्वम् । “त्यज्यमानेऽपि न त्यक्तः प्राप्यमाणेऽपिनाप्यते । आगमापायसाक्षी यः स आत्मानुभवात्मक” इतितत्र देहे “भर्त्तृषूपसखि निक्षिपतीनामात्मनोमधुमदोद्य-मितानाम्” किरा० “आत्मनोदेहान्” मल्लि० “प्रभा-विनं भाविनमन्तमात्मनः” माघः । आत्मनोनित्यत्वेनदेहस्यैवान्तकत्वमिह विवक्षितम् तदवच्छिन्नचैतनस्यात्मशब्दार्थ-त्वेऽपि विशेष्टे नाशान्वयासम्भवात् विशेषणे तदन्वयः । एवं“व्यापादयेद्य आत्मानमित्यादौ” “ये केचात्महनोजना”इत्यादावपि “स्थितः सर्वोन्नतेनोर्वीं क्रान्त्वा मेरुरिवात्मना”रघुः । “आत्मना शरीरेण” मल्लि० “अभ्युत्थानमधर्मस्यतदात्मानं सृजाम्यहम्” गीता । यत्ने “कर्म्मात्मा त्वपरोयोऽसौबन्धमोक्षैः स युज्यते” इति कर्म्मणि आत्मा यत्नोयस्येत्यर्थः ।भूतात्मेत्यादौ आत्मशब्दः गौणः आत्मोपकरणत्वात् आत्म-जन्यत्वाद्वा “तस्माद्वा एतस्मादात्मन आकाशः सम्भूतः”इत्यादिश्रुत्या भूतानामात्मन उत्पत्तिप्रतिपादनात् ।स्वभावे, बुद्धौ च “तमात्मसम्पन्नमनिन्दितात्मा” रघुः ।“अनिन्दितात्मा अगर्हितस्वभावः आत्मसम्पन्नं बुद्धिसम्पन्नम्”मल्लि० । १२ देहावच्छिन्नेचैतन्ये च “आत्मैव ह्यात्मनो बन्धु-रात्मैव रिपुरात्मनः” स्मृतिः । अन्तःकरणे, “आत्मान-मात्मना वेत्सि” कुमा० । “तन्मनोऽकुरुतात्मन्वी स्याम्”वृ० उ० “अनेनात्मना मनसा आत्मन्वी मनस्वी स्याम्”भा० स्वरूपे” अनेन जीवेनात्मनाऽनुप्रविश्य नामरूपेव्याकरवाणीति” छा० उ० । जीवात्मनि “आत्मानं रथिनंविद्धि शरीरं रथमेव तु । बुद्धिं तु सारथिं विद्धि मनःप्रग्रहमेव च । इन्द्रियाणि हयानाहुर्विषयांस्तेषु गोचरान् ।आत्मेन्द्रियमनोयुक्तं भोक्तेत्याहुर्मनीषिणः” कठ० उ० ।“अत्रात्मानं संसारिणं रथिनं रथस्वामिनं विद्धि” भा० ।बुद्ध्यादौ “इन्द्रियेभ्यः पराह्यर्था अर्थेभ्यश्च परं मनः । मनसश्चपरा बुद्धिर्बुद्धेरात्मा महान् परः । महतः परमव्यक्तमव्यक्तात्पुरुषः परः । पुरुषान्न परं किञ्चित् का काष्ठा सा परा गतिः ।एष सर्ब्बेषु भूतेषु गूढ़ोत्मा न प्रकाशते । दृश्यते त्वग्र्ययाबुद्ध्या सूक्ष्मया सूक्ष्मदर्शिभिः । यच्छेद्वाङ्मानसी प्राज्ञ-स्तद्यच्छेज्ज्ञान आत्मनि । ज्ञानमात्मनि महति यच्छे-त्तद्यच्छेच्छान्त आत्मनि” कठ० उप० “ज्ञाने प्रकाशस्वरूपेबुद्धावात्मनि बुद्धिर्हि मनआदिकरणानि प्राप्नोतोत्यात्मा तेषांप्रत्यग्ज्ञानम् । बुद्धिमात्मनि महति प्रथममुत्पन्नेयच्छेत्प्रथमजत्वात् स्वच्छस्वभावमात्मनो ज्ञानमापादयेदित्यर्थः तच्च महान्तमात्मानं यच्छेच्छान्ते सर्वविशेषप्रत्यस्तमिरूपेअविक्रिये सर्व्वान्तरे सर्व्वबुद्धिसाक्षिणि मुख्ये आत्मनि” भा०तत्र पुत्रादौ आत्मशब्दोगौणः ममात्मा भद्रसेन इतिवत् देहादौ तु मिथ्याभिमान इति भेदः एतदभिप्रायेणैव“गौणमिथ्यात्मनोऽसत्त्वे पुत्रदेहादिबाधनादिति” शा०भा० उक्तम् । परमात्मनि “तस्माद्वा एतस्मादात्मनःआकाशःसंभूतः” । “आत्मा वा अरे द्रष्टव्यः” इति चश्रुतिः स्वरूपे तदात्मा पृथगात्मा “आत्मानमात्मनाबिभ्रदस्तीति व्यपदिश्यते” वाक्यप० । बुद्धिविशेषस्थधर्म्मो-पलक्षितार्थे स्वशब्दार्थे “ग्रामेष्वात्मविसृष्टेषु” रघुः“देवात्मशक्त्या स्वगुणैर्निगूढाम्” श्रुतिः । भावे त्व आत्म-त्वम् आत्मधर्मे न० । “अभावविरहात्मत्वं वस्तुनःप्रतियोगिता” उदयनः । तल् तत्रैवार्थे स्त्री “तदा-त्मताध्यातधवा रते च का” नै० । ष्यञ् टिलोपः ।आत्म्यम् तत्रार्थे न० । हितार्थे ख । आत्मनीनःआत्महिते त्रि० । तस्येदं छ आत्मीयः । तत्सम्बन्धिनित्रि० । गूढात् परत्वेऽस्य पृ० वर्णविकृतौ गूढोत्मा“गूढोत्मावर्ण्णविकृतेरिति” व्या० कारिका “गूढोत्मा नप्रकाशते” इति कठ० उप० । स्वात्मनः प्रत्यक्त्वं,परात्मनः पराक्त्वमिति भेदः तयोर्भेदाभेदपक्षौ च मदभेदेनप्राक् दर्शितौ वभासनरूपे प्रकाशे । “आत्मनस्तत्प्रकाशत्वं यत्पदार्थाव-भासनम् । नाग्न्यादिदीपवद्दीप्तिर्भवत्यान्ध्यंयतोनिशि” इत्युक्तेः अग्न्यादिप्रकाशविलक्षणनित्यप्रकाशत्वेनतत्प्रकाशेनैव घटादिस्फुरणेन च तस्य तथात्वम् । “बुद्धि-वृत्तिचिदाभासौ द्वावेतौ व्याप्नुतो घटम् । तत्राज्ञानं धियानश्येदाभासात्तु घटः स्थुरेत्” इत्युक्तेस्तस्य सर्वप्रकाशकत्वम् ।आत्मप्रभ त्रि० आत्मना स्वयमितरनैरपेक्ष्येण प्रभा यस्य । १ स्वयं-प्रकागमाने “लोकानात्मप्रभान् पश्यन् फाल्गुनोविस्मया-न्वितः” भा० व० प० ४२ अ० । २ परमात्मनि पु० “हृद्यन्तः स्वयंज्योतिरिति” श्रुतेः “न तद्भासयते सूर्य्योन शशाङ्कोनपावक” इत्युक्तेश्च तस्य भासने इतरापेक्षाभावात्तस्य तथात्वम् ।३ त० । ३ स्वयंप्रभायां स्वयं प्रकाशे स्त्री ।आत्मप्रभव पु० प्रभवत्यस्मात् प्र + भू--अपादाने अप् आत्मादेहः मनो वा प्रभवो यस्य । १ तनुजे पुत्रे मनोभवे २ कामेच ३ कन्यायां ४ बुद्धौ च स्त्री आत्मभवादयोऽप्यत्र ।५ आकाशादिषु च च परमात्मनः प्रभवत्वात्तेषां तथात्वम् ।आत्मभू पु० आत्मनोमनसो देहात् वा भवति भू--क्विप् ५ त० ।मनोभवे १ कामे देहभवे २ पुत्रे ३ कन्यायां ४ बुद्धौ च स्त्री ।आत्मनैव भवति भू--क्विप् । ५ ईश्वरे पु० स हि “बहु स्यांप्रजायेयेति” ईक्षणपूर्ब्बकं सृज्यवस्त्वाकारेण विवर्त्तनात्तथा । “सर्वज्ञस्त्वमविज्ञातः सर्वयोनिस्त्वमात्मभूः” रघुः“आत्मभूरवरजाखिलप्रजः” इति माघः ६ शिवे ७ विष्णौ चपरमेश्वराभेदात्तयोस्तथात्वम् । आत्मनः ब्रह्मणः भवतिभू--क्विप् । आदिजीवे ६ हिरण्यगर्भे “यो वै ब्राह्मणंविदधाति पूर्ब्बम्” इति श्रुत्या “यः सर्वज्ञः सर्वविद्यस्यज्ञानमयं तपः । तस्मादेतत् ब्रह्म नाम रूपपन्नञ्चजायते इति” श्रुत्या च चतुर्मुखस्यात्मजन्यत्वीक्तेस्तस्यतथात्वम् ब्रह्मेति क्लीवं छान्दसम् “यमामनन्त्यात्मभुवोऽपिकारणम्” “वचस्यवसिते तस्मिन् ससर्ज गिरमात्मभूः”कुमा० अच् आत्मनो भवति भू + अच् ५ त० । आत्म-भवादयोऽप्युक्तार्थेषु ।आत्मभूत त्रि० आत्मनोदेहात् मनसो वा भूतः । तनुजे १ पुत्रेमनोभवे २ कामे च । ३ कन्यायां ४ बुद्धौ च स्त्री ५मनोजन्यमात्रे त्रि० । अनात्मा आत्मा भूतः श्रेण्या० कर्म्म० ।अनात्मनि आत्मरूपेण भवितरि ६ देहादौ त्रि० “आत्मभू-तानीन्द्रियाणीति शा० भा० । ७ अनुकूले सेवकभेदे च ।“तत्रात्मभूतैः कालज्ञैरहार्य्यैः परिचारकैः” मनुः ।आत्मभूय न० आत्मनो भावः भू--भावे क्यप् ६ त० ।आत्मत्वे ब्रह्मरूपे “आत्मभूयाय कल्पते” पुरा० ।आत्ममय त्रि० आत्मात्मकः आत्मन् + मयट् । आत्मस्वरूपा-पन्ने “सर्वमात्ममयं जगत्” पुरा० स्त्रियां ङीप्आत्ममानिन् त्रि० आत्मानमुत्कर्षेण मन्यते मन--णिनि६ त० । १ आत्मोत्कर्षाभिमानिनि गर्व्विते २ सर्वभूतेषुआत्मत्वेन ज्ञातरि च स्त्रियां ङीप् ।आत्ममूर्त्ति पु० आत्मनोमूर्त्तिरिव मूर्त्तिरस्य । १ भ्रातरितस्य एकदेहोत्पन्नत्वेन, “भ्राता स्वोमूर्त्तिरात्मनः”इति मनुना भ्रातुः स्वतुल्यमूर्त्तित्वोक्तेश्च तथात्वम ।६ त० । वेदान्तिमते आत्मनः स्वरूपे २ चैतन्यादौ न्याय-मते ३ कर्तृत्वादौ च स्त्री ।आत्मवत् त्रि० आत्मा चित्तं वश्यतयाऽस्त्यस्य मतुप् मस्य वःस्त्रियां ङीप् । १ वश्यचित्ते । “उदयादिष्वविकृतिर्मनसःसत्त्वमुच्यते । आत्मवान् सत्त्ववानुक्त” इत्युत्पलमालोक्ते२निर्विकारचित्ते च “प्रकृतिष्वात्मजमात्मवत्तया” रघुः“तस्मादस्मिन् सदा युक्तो नित्यं स्यादात्मवान् द्विजः” ।“गृहे गुरावरण्ये वा निवसन्नात्मवान् द्विजः” “पूर्व्वं पूर्ब्बंगुरुतरं विद्यात् व्यसनमात्मवान्” “ब्रह्महत्याकृतं पापंव्यापोहत्यात्मवत्तया” इति च मनुः । “न त्वामेवंविधो-भावः स्प्रष्टुमर्हति मानद! । आत्मवन्तमिव व्याधिः पुरुषंवृद्धसेविनम्” भा० व० प० २७९ अ० । आत्मा प्रकाश्य-तया विद्यतेऽस्य । आत्मप्रकाशके ३ शास्त्रे “श्रुतमाविष्कृत-मात्मवत् त्वया” रघुः । आत्मना तुल्या क्रिया वति । ४ आत्म-तुल्यक्रियायाम् अव्य० । “आत्मवन्मन्यते जगत्” इतिनीतिः “मातृवत् परदारेषु परद्रव्येषु लोष्ट्रवत् । आत्मवत्सर्वभूतेषु यः पश्यति स पण्डित” इति चाणक्यः ।आत्मवश क्रि० आत्मनोवश आयत्ततात्र । आत्माधीने ।“यद्यदात्मवशं तु स्यात्ततत् सेवेत यत्नतः” “सर्वं परवशंदुःखं सर्वमात्मवशं सुखम्” इति च मनुः ।आत्मवश्य त्रि० आत्मा मनो वश्योयस्य । वशीभूतमनस्के“आत्मवश्योविधेयात्मा प्रसादमधिगच्छति” गीता २ आत्मनो-श्ये च ।आत्मविक्रय पु० ६ त० । स्वदेहविक्रये । स च “गोबधोऽयाज्य-संयाज्यपारदार्य्यात्मविक्रय” इति मनूक्तेरुपपातकभेदः ।आत्मविद् त्रि० आत्मानं यथार्थरूपेण वेत्ति विद--क्विप् ६ त० ।आत्मस्वरूपाभिज्ञे “आत्मविदोजनाः” आत्म शब्दे उदा०“अधीयन्नात्मविद्विद्याम्” भट्टिः “तरति शोकमात्मवित्”श्रुतिः “ध्यानयोगमुपागस्य प्रसन्नमतयः सदा । सुखोपचयमव्यक्तं प्रविशन्त्यात्मवित्तमाः” भा० आश्व० प० ५१ अ० आत्मानं स्वपक्षं वेत्ति क्विप् । २ स्वपक्ष ज्ञातरि “यइहात्मविदो विपक्षमध्ये” माघः ।आत्मविद्या स्त्री आत्मनोविद्या । आत्मनो यथास्वरूपावेदक-विद्यायाम् “आन्विक्षिकीञ्चात्मविद्यां वार्त्तारम्भांश्चलोकतः” मनुः । “आत्मविद्या च पौराणी धर्मशा-स्त्रात्मिक तथा” नन्दिपु० सा च उपनिषद्रूपा तदुप-कारिशारीकविद्या च । तद्विद्यासाधने २ शास्त्रे च ।आत्मवीर त्रि० आत्मा प्राणः वीरैव यस्य । १ विशिष्टबलयुक्ते२ श्यालके ३ पुत्रे विदूषके च पु० मेदिनिः ।आत्मवृत्ति स्त्री आत्मनोद्धत्तिः । १ आत्मनोवर्त्तनोपाये ।आत्मनि वृत्तिः स्थितिर्यस्य । २ स्ववृत्तौ पदार्थे त्रि० ।आत्मशक्ति स्त्री ६ त० । आत्मानुरूपसामर्थ्ये । “दैवं निहत्यकुरु पौरुषमात्मशक्त्या” नीतिः शक्तिश्च कार्य्यजननानुकूलःसामर्थ्यभेदः सा च देहप्राणादिनिष्ठा । आत्मनः परमात्म-नो जगज्जननशक्तौ २ मायायाञ्च “देवात्मशक्तिं स्वगुणैर्निगूढाम्” श्रुतिः ।आत्मशल्या स्त्री आत्मा स्वरूपं शल्यमिव यस्याः । शतावर्य्याम् राजनि० ।आत्मशुद्धि स्त्रीं आत्मनः देहस्य मनसो वा शुद्धिः । १देहशुद्धौ २ चित्तशुद्धौ च शुद्धिश्च अशुद्धिशब्दे व्याख्याता ।आत्मश्लाघा स्त्री ६ त० । आत्मनोऽसत्यगुणाविष्करणे गर्वभेदे“आत्मश्लाघा विवर्जितः” महापुरुषलक्षणम् ।आत्मसंयम पु० आत्मनो मनसः संयमः । चित्तसंयमने“आत्मसंयमयोगाग्नौ जुह्वति ज्ञानदीपिते” गीता ।आत्मसमुद्भव पु० आत्मा देहोमनः परमात्मावा समुद्भवोऽस्य ।१ पुत्रे “हतान्निहन्मेह नरर्षभेण वयं सुरेशात्मसमुद्भवेन”भा० द्रो० प० ११८ अ० । २ मनोभवे कामे च पु० ३मनोजन्ये सुखादौ त्रि० ४ कन्यायां ५ बुद्धौ च स्त्री परमात्मस-म्भूते ६ आकाशादौ त्रि० । ७ चतुर्खुखे ८ शिवे ९ निष्णौ१० परमात्मनि च पु० ।आत्मसम्भव पु० सम्भवत्यस्मात् सम् + भू--अपादाने अप् आत्मासम्भवो यस्य । तनूजे १ पुत्रे । “एवमात्तरतिरात्मसम्भवान्तान् निवेश्य चतुरोऽपि तत्र सः” । “चकार नाम्नारघुरात्मसंभवम्” “तदात्मसम्भवं राज्ये मन्त्रिवृद्धाः समादधुः”इति च रघुः २ मनोजन्ये त्रि० ३ कामे सुखादौ पु० ४ कन्यायां५ बुद्धौ च स्त्री । ६ आकाशादौ ७ भूते त्रि० । “तस्माद्वाएतस्मादात्मनः आकाशः सम्भूत आकाशाद्वायुर्वायोरग्नि-रग्नेरापः अद्भ्यः पृथिवीति” श्रुत्युक्तेस्तेषां तथात्वम्आत्मसंभूतादयोऽप्यत्र । आत्मा परमात्मा सम्भवोऽस्य ।७ चतुर्मुखे पु० आत्मना सम्भवति अच् । ८ शिवे ९ विष्णौ१० परमात्मनि च पु० ।आत्मसाक्षिन् त्रि० आत्मनः बुद्धिवृत्तेः साक्षी प्रकाशकः ।वेदान्तादिमतसिद्धे बुद्धिवृद्धिप्रकाशके चैतन्ये ।आत्मसात् अव्य० कात्र्स्न्येनात्मनोऽधीनो भवति सम्पद्यतेअघीनं करोति वा साति । कात्र्स्न्येनात्माधीनतयासम्पन्ने तथा भूते तथा क्रियमाणेच । अस्य च सम्पद्यादि-योगे एव साधुत्वम् आत्मसाद्भूतः आत्मसात् सम्पन्नःआत्मसात्कृत इत्यादि । “दुरितैरपि कर्त्तुमात्मसात्”रघुः “अग्नीन् वाप्यात्मसात्कृत्य” या० स्मृतिः ।आत्मसिद्ध त्रि० आत्मना सिद्धः । १ स्वयंसिद्धे २ अयत्ननिष्पन्ने च ।आत्मसिद्धि स्त्री आत्मरूपा सिद्धिः । आत्मभावलाभे मोक्षेआत्मसुख त्रि० आत्मैव सुखमस्य । आत्मलाभमात्रेणसुखिनि १ आत्मैव सुखं सच्चिदानन्दरूपत्वात् । २ आत्म-रूपे परमान्दे न० ।आत्मस्थ त्रि० आत्मने आत्मज्ञानाय तिष्ठते यतते स्था--क४ त० । १ आत्मस्वरूपज्ञानाय यतमाने आत्मनि मनसि तिष्ठतिस्था--क ७ त० । २ मनोवृत्तिपदार्थे त्रि० ।आत्महत्या स्त्री आत्मनो देहस्य हननम् । देहस्य प्राणैर्वियोजने ।आत्महन् त्रि० आत्मानं हतवान् हन--क्विप् । “येऽन्यथासन्तमात्मानमकर्त्तारं स्वयंप्रभुम् । कर्त्ता भोक्तेति मन्यन्तेतएवात्महनो जना,” इत्यक्तलक्षणे आत्मनो यथार्थ्यज्ञान-रहिते, १ देहाद्यभिमानिनि, “अन्धं तमस्ते विशन्ति येके चात्मनोजनाः” कठ० उ० “लब्ध्वा कथञ्चिन्नरजन्म दुर्लभंतत्रापि पुंस्त्वं श्रुतिपारदर्शनम् । यस्त्वात्ममुक्त्यै न यतेतमूढधीः स आत्महा स्वं विनिहन्त्यसद्ग्रहात्” विवे० चू० ।त्मनो यथार्थज्ञानाभावे आत्महत्वमुक्तम् । “असुर्य्यानामते लोका अन्धेन तमसा वृताः । तांस्ते प्रेत्याभि-गच्छन्ति ये के चात्महनोजनाः” ईशोप० । “मयानुकूलेननभस्वतेरित पुमान् भवाब्धिं न तरेत् स आत्महा” भाग०२ आत्मघातिनि जने च । आत्मघातिन्शब्दे विवृतिः ।आत्माधीन पु० आत्मनोऽधीनः । १ पुत्रे, २ श्यालके ३ विदू-षके च हेम० ४ बलयुक्ते ५ स्वाघीने त्रि० ।आत्मानुरूप त्रि० आत्मनोऽनुरूपम् । जातिघृत्तादिनास्वतुल्ये “तस्यामात्मानुरूपायामात्मजन्मसमुत्सुकः” रघुः ।आत्मापहारक त्रि० आत्मानमपहरति निह्नुते अप +हृण्वुल् । आत्मनो यथास्वरूपनिह्नवकारिणि “योऽन्यथामन्तमात्मानमन्यथा सत्सु भाषते । स पापकृत्तमो लोकेस्तेन आत्मापहारकः” मनुः । णिनि । आत्मपहारीअप्यत्र “किं तेन न कृतं पापं चौरेणात्मापहारिणा”स्मृतिः स्त्रियां ङीप् ।आत्माराम त्रि० आत्मा आराममिव रतिस्थानंरतिसाधनं वा यस्य । ज्ञानाय यतमाने योगिनि “आत्मा-रामाविहितरतयोनिर्विकल्पे समाधौ” वेणी० । “आत्म-क्रीड़स्य सततं सदात्ममिथुनस्य च । आत्मन्येव सुतृप्तस्ययोगसिद्धि र्न दूरतः । यश्चात्मव्यतिरेकेण किञ्चिद्विश्वंन पश्यति । आत्मारामः स योगीन्द्रोब्रह्मभूतोभवेदिति” काशी० उक्ते २ योगीन्द्रभेदे च ।आत्मालम्भ पु० ६ त० । हृदयस्पर्शे “पित्र्यमन्त्रानुहरणेआत्मा-लम्भेवेह्यक्षणे” कात्या० स्मृ० “आत्मालम्भे हृदयस्पर्शे” रघु० ।आत्माशिन् पु० आत्मानं स्वकुलमश्नानि अश--णिनि ६ त० ।स्वकुलभक्षके मीने तस्य सकुलभक्षकत्वात् तथात्वम् अतएव“अबलस्वकुलाशिनो झषान्” नै० “मत्स्या इवजनानित्यं भक्षयन्ति परस्परमिति च” रामा० वर्णितम् ।आत्माश्रय पु० आत्मानमाश्रयति आ + श्रि--अच् ६ त० । १ स्वस्यस्यापेक्षित्वहेतुकानिष्टप्रसङ्गरूपे तर्कदोषभेदे । तर्कः पञ्चविधःतर्कशब्दे वक्ष्यते तत्र “स्वस्य स्वापेक्षित्वेऽनिष्टप्रसङ्ग आत्माश्रयःस च उत्पत्तिस्थितिज्ञप्तिद्वारा त्रेधा यथा यद्ययं घटएत-द्बटजन्यः स्यात्तदैतद्बटानधिकरणक्षणोत्तरवर्त्ती न स्यात्,यद्ययं घटएतद्बटवृत्तिः स्यात् एतद्वटव्याप्योन स्यात्, यद्ययंघटएतद्घटज्ञानाभिन्नः स्यात् ज्ञानसामग्रीजन्यः स्यात्एतद्वटभिन्नः स्यादिति वा सर्ब्बत्रापाद्यम्” न्यायसूत्रवृत्तिः ।२ स्वाश्रिते ३ चित्ताश्रिते च त्रि० ६ त० । ४ स्वस्याश्रये पु० ।आत्मीय त्रि० आत्मनोऽयम् छ । आत्मसंबन्धिनि ।“आत्मीयां मतिमादाय कुरु सज्जनरञ्जनम्” सा० द० “किमिदंद्युतिमात्मीयां न बिभ्रति यथा पुरा” कुमा० “प्रसाद-मात्मीयमिवात्मदर्शः” रघुः अहमेनं प्रज्ञावलेनात्मीयंकरिष्यामि” हितो० ।आत्मेश्वर त्रि० आत्मनो मनस ईश्वरः । चित्तविकार-निवारके मनःसंयमकारके “आत्मेश्वराणां न हि जातुविघ्नाः समाघिभेदप्रभवोभवन्ति” कुमा० ।आत्मोत्पत्ति स्त्री आत्मन उत्पत्तिः स्वोपाध्यन्तःकरणवृत्ति-कर्म्मणाऽपूर्ब्बदेहसंयोगः । स्वोपाधीभूतान्तःकरणवृत्ति-कर्म्मणाऽपूर्ब्बदेहसंयोगरूपे आत्मनो जन्मनि । तदुत्पत्ति-प्रकारः मिताक्षरायां दर्शितो यथा ।“निमित्तमक्षरः कर्त्ता बोद्धा ब्रह्म गुणी वशी । अजःशरीरग्रहणात्स जात इति कीर्त्यते” “आत्मनःसकलजगत्प्रप-विर्भावेऽविद्यासमावेशवशात्समवाय्यसमवायिनिमित्तमि-त्येवं स्वयमेव त्रिविघमपि कारणम् । न पुनःकार्य्यकोटि-निविष्टः यस्मादक्षरोऽविनश्वरः । ननु सत्त्वादिगुणविकारस्यसुखदुःखमोहात्मकस्य कार्य्यभूते जगत्प्रपञ्चे दर्शनाद्गुण-वत्याः प्रकृतेरेव जगत्कर्त्तृतोचिता न पुनर्निर्गुणस्य ब्रह्म-णः । मैवं मंस्थाः । आत्मैव कर्त्ता । यस्मादसौ जीवोपभोग्यसुखदुःखहेतुपुण्यापुण्यादेर्बोद्धा नह्यचेतनायाः प्रकृतेर्ना-मरूपव्याकृतविचित्रभोक्तृवर्गभोगानुकूलभोग्यभोगायतनादियोगिजगत्प्रपञ्चना घटते । तस्मादात्मैव कर्त्ता । तथा सएव ब्रह्म वृंहकोविस्तारकः । नचासौ निर्गुणः, यतः तस्यत्रिगुणा शक्तिरविद्या प्रकृतिप्रधानाद्यपरपर्याया विद्यते ।अतः स्वतोनिर्गुणत्वेऽपि शक्तिमुखेन सत्त्वादिगुणयोगी कय्य-ते । नचैतावता प्रकृतेः कारणता यस्मादात्मैव वशी स्वतन्त्रोन प्रकृतिर्नाम खतन्त्रन्तत्त्वान्तरन्तादृग्विधत्ते प्रमाणाभावा-त् । न च वचनीयं शक्तिरूपापि सैव कर्तृभूतेति । यतःशक्तिमत्कारकं न शक्तिस्तस्मादात्मैव जगतस्त्रिविधमपिकारणम् । तथा अजौत्पत्तिरहितः । अतस्तस्य यद्यपिसाक्षाज्जननं नोपपद्यते । तथापि शरीरग्रहणमात्रेण जातइत्युच्यते । अवस्थान्तरयोगितयोत्पत्तिर्गुहस्थोजात इतिवत्” मिता० देहोत्पत्तिप्रकारःकायशब्दे वक्ष्यते ।आत्मोद्भवा स्त्री आत्मनैवोद्भवति भू--अच् । माषपर्ण्णीवृक्षेआत्मा उद्भवो यस्याः । २ कन्यायां ३ वुद्धौ च ४ पुत्रेपु० । “आत्मोद्भवे वर्णचतुष्टयस्य” रघुः । ६ मनोभवेकामे ७ चित्तभवे शोकादौ च ८ आत्मभवार्थमात्रे च त्रि० ।आत्मोपजीविन् त्रि० आत्मना देहव्यांपारेण उपजीव्यतिउप + जीव--णिनि ३ त० । स्वदेव्यापारोपजीवके भारि-कदासादौ “शूद्रांश्चात्मोपजीविनः” “नैष चारणदारेषुविधिर्न्नात्मोपजीविषु” इति च मनुः ।आत्मोपम त्रि० आत्मा देहौपमा यस्य १ पुत्रे २ निजसदृशे च त्रि० ।आत्मौपम्य न० उपमायाभावः ष्यञ् औपम्यम् आत्मनऔपम्यम् । आत्मसादृश्ये “आत्मौपम्येन सर्व्वत्र” गीता ।आत्यन्तिक त्रि० अत्यन्त + भवार्थे ठञ् । अतिशयेन जाते ।“आत्यन्तिकासिद्धिविलम्बसिद्ध्योः” नै० “नाब्राह्मणे गुरौशिष्यो वासमात्यन्तिकंवसेत्” मनुः । “विभेदजनकाज्ञानेनाशमात्यन्तिकंगते । आत्मनो ब्रह्मणा भेदमसन्तं कः करिष्यति”वे० प० स्त्रियां ङीप् । “आत्यन्तिकी स्वत्वनिवृत्तिः” मिता०आत्यन्तिकदुःखनिवृत्ति स्त्री आत्यन्तिकीदुःखनिवृत्तिः ।अपवर्गे मुक्तौ । सा च स्वाधिकरणदुःखप्रागभावासमानाधि-करणा दुःखनिवृत्तिः यादृश्या दुःखनिवृत्तेरुत्तरंपुनर्दुःखान्तरं नोत्पद्यते तादृशी दुःखनिवृत्तिः । दुःखञ्चअनागतसूक्ष्मावस्थ “हेयं दुःखमनागतमिति” पात० सूत्रात्अतीतदुःखस्य नष्टत्वात् वर्त्तमानदुःखस्य च तृतीयक्षणएव स्वयं नाशात् न तन्निघृत्तेः पुरुधार्थत्वमिति बोध्यम् ।आत्यन्तिकप्रलय पु० कर्म्म० । प्रलयभेदे । प्रलयस्तावत्चतुर्विधः” यथाह वेद० प० “स च चतुर्विधः नित्यःप्राकृतो नैमित्तिक आत्यन्तिकश्चेति । तत्र नित्यप्रलयः सुषुप्तिःतस्याः सकलकार्य्यप्रलयरूपत्वात् धर्म्माधर्म्मपूर्ब्बसंस्काराणाञ्चतदा कारणात्मनाषस्थानं तेन सुप्तोत्थितस्य न सुखदुःखा-द्यनुपपत्तिः न वा स्मरणानुपपत्तिः । न च सुषुप्तावन्तःकरणस्यापि विनाशे तदधीनप्राणनादिक्रियानुपपत्तिःवस्तुतः श्वासाद्यभावेऽपि तदुपलब्धेः पुरुषान्तरविभ्रम-मात्रत्वात् सुषुप्तशरीरोपलम्भवत् । नचैवं सुषुप्तस्यपरेतादविशेषः, सुषुप्तस्य हि लिङ्गशरीरं संस्कारात्मनातत्रैव वर्त्तते परेतस्य तु लोकान्तरे इति वैलक्षण्यात् ।यद्वा अन्तःकरणस्य द्वे शक्ती ज्ञानशक्तिः क्रियाशक्तिश्चेतितत्र ज्ञानशक्तिविशिष्टान्तःकरणस्य सुषुप्तौ विनाशः न तुक्रियाशक्तिविशिष्टस्येति प्राणनाद्यवस्थानमविरुद्धम् । “यदासुप्तः स्वप्नं न कञ्चन पश्यति अथास्मिन् प्राण एवैकधाभवति अथैनं वाक् सर्वैर्नामभिः सहाप्येति सता सौम्य!तदा सम्पन्नो भवति स्वमपीतोभबतीत्यादि” श्रुतिरुक्त सुप्तौमानम् । प्राकृतप्रलयस्तु कार्य्यब्रह्मविनाशनिमित्तकःसकलकार्य्यविनाशः । यदा तु प्रागेवोत्पन्नब्रह्मसाक्षात्-कारस्य कार्य्यब्रह्मणो ब्रह्माण्डाधिकारलक्षणप्रारब्ध-कर्नसमाप्तौ विदेहकैवल्यात्मिका परा मुक्तिः तदा तल्लोक-वासिनामप्युत्पन्नब्रह्मसाक्षात्काराणां ब्रह्वणा सह विदेहकैवल्यम् “ब्रह्मणा सह ते सर्वे सम्प्राप्ते प्रतिसञ्चरे ।परस्यान्ते कृतात्मानः प्रविशन्ति परं पदमिति” श्रुतेः । एवंस्वलोकवासिभिः सह कार्य्यब्रह्मणि मुच्यमाने तदधिष्ठि-तब्रह्माण्डतदन्तर्व्वर्त्तिनिखिललोकतदन्तर्व्वर्त्तिस्थावरादीनांभूतानाञ्च प्रकृतौ मायायां लयः न तु ब्रह्मणि, बाघरू-पविनाशस्यैव ब्रह्मनिष्ठत्वादतः प्राकृत इत्युच्यते ।नैमित्तिकप्रलयस्तु कार्य्यब्रह्मणोदिवसावसाननिमित्तकःत्रैलोक्यमात्रप्रलयो नैमित्तिकप्रलयः । ब्रह्मदिवसश्चतु-र्युगसहस्रपरिमितः “चतुर्युगसहस्राणि ब्रह्मणोदि-नमुच्यते” इत्यादिवचनात् । प्रलयकालोऽपि दिवस-कालपरिमितः रात्रिकालस्य दिवसकालतुल्यत्वात् ।प्राकृतप्रलये नैमित्तिकप्रलये च पुराणवचनानि प्रमाणानि“द्विपरार्द्धे त्वतिक्रान्ते ब्रह्मणः परमेष्ठिनः । तदा प्रकृ-तयः सप्त कल्पन्ते प्रलयाय हि । एष प्राकृतिकोराजन्!प्रकृतौ यत्र लीयते” इति वचन प्राकृतप्रलये मानम् ।“एव नैमित्तिकः प्रोक्तः प्रलयोयत्र विश्वसृक् । शेतेऽन-न्तासने नित्यमात्मसात्कृत्य चात्मभूरिति” वचनं नैमित्तिकप्रलये मानम् । तुरीयप्रलयस्तु ब्रह्मसाक्षात्कारनिमित्तकःसर्ब्बगोक्षः सचैकजीववादे युगपदेव नानाजीववादे तु क्रमे-ण “सर्व्वएकीभवन्ति” इत्यादि श्रुतेः । तत्राद्यास्त्रयोऽपिलयाः कर्म्मोपरमनिमित्ताः तुरीयस्तु ज्ञानोदयनिमित्तो-लयोऽज्ञानेन सहैवेति विशेषः” । अत्र तुरीयः आत्य-न्तिकः तत्र विशेषमाह सि० शि० “वृद्धिर्वि-धेरह्नि भुवः समन्तात् स्याद्योजनं भूभवभूतपूर्वैः । ब्राह्मेलये योजनमात्रवृद्धेर्नाशो भुवः प्राकृतिकेऽखिलायाः ।दिनेदिने यन्म्रियते हि भूतैर्दैनंदिनं तं प्रलयंवदन्ति । ब्राह्मं लयं ब्रह्मदिनान्तकाले भूतानियद्ब्रह्मतनुं विशन्ति । ब्रह्मात्यये यत् प्रकृतिं प्रयान्तिसर्वाण्यतः प्राकृतिकं कृतीन्द्राः । लीनान्यतः कर्मपुटान्त-रत्वात् पृथक् क्रियन्ते प्रकृतिर्विकारैः । ज्ञानाग्निद-ग्धाखिलपुण्यपापा मनः समादाय हरौ परेशे । यद्यो-गिनौ यान्त्यनिवृत्तिमस्मादात्यन्तिकं चेति लयश्चतुर्धा” ।“अत्र लयो भूतविनाशः । स तु साम्प्रतं प्रत्यहमुत्पद्यतेस दैनंदिन उच्यते । यो ब्रह्मदिनान्ते चतुर्युगसहस्राव-साने लोकत्रयस्य संहारः स ब्राह्मो लय उच्यते । तत्रा-क्षीणपुण्यपापा एव लोकाः कालवशेन ब्रह्मशरीरं प्रवि-शन्ति । तत्र मुखं ब्राह्मणाः, बाह्वन्तरं क्षत्रियाः,ऊरुद्वयं वैश्याः, पादद्वयं शूद्राः । ततो निशावसानेपुनर्ब्रह्मणः सृष्टिं चिन्तयतो मुखादिस्थानेभ्यः कर्मपुटा-रत्वाद्ब्राह्मणादयस्तत एव निःसरन्ति । तस्मिन्प्रलये भुवो योजनमात्रवृद्धेर्विलयो नाखिलायाः । अथयदा ब्रह्मण आयुषोऽन्तस्तदा यः प्रलयः स महाप्रलयउच्यते । तत्र ब्रह्मा ब्रह्माण्डे, तत् पाञ्चभौतिके,भूर्जले, जलं तेजसि, तेजो वायौ, वायुराकाशे,आकाशमहंकारे, अहंकारो महत्तत्त्वे, महत्तत्त्वंप्रकृतौ । एवं सकलभुवनलोका अक्षीणपुण्यपापाएवाव्यक्तं पविशन्ति । यदा भगवान् सिसृक्षुः प्रकृतिपुरुषौक्षोभयति । तदा तानि भूतानि कर्म्मपुटान्तरत्वात् प्रकृतेःस्वत एव निःसरन्ति । यथाह श्रीविष्णुपुराणे पराशरोजगदुत्पत्तिकारणम् । “प्रधानकारणीभूता यतो वै सृज्य-शक्तय” इति सृज्यशक्तयस्तत्कर्माणि । तान्येव सृष्टौ मुख्यंकारणम् । इतराणि निमित्तकारणानि । अन्यैरप्युक्तम् ।“नाभक्तं क्षीयते कर्म कल्पकोठिशतैरपि” । “नह्यात्मनांभवति कर्मफलोपभोगः कायाद्विनेत्यादि” । अस्मिन् प्रलयेऽखिलायाभुवो नाश इत्यर्थः । तथा “ज्ञानाग्निदग्धाखि-लपुण्यपापा योगिनो विषयेभ्यो मनः समादाय समाहृत्यतद्धरौ समाहितं कृत्वा यान्ति देहं त्यजन्ति ।अनिवृत्तिं यान्ति । स आत्यन्तिको लय इति” प्रमिता० ।आत्मप्रकाश त्रि० आत्मनः प्रकाशः । आत्मनश्चैतन्यस्य पदार्था-https://sa.wikisource.org/wiki/वाचस्पत्यम्/
आत्मा, [न्] पुं, (अतति सन्ततभावेन जाग्रदादि-सर्व्वावस्थासु अनुवर्त्तते, अत सातत्यगमने +मनिण् ।) यत्नः । धृतिः । बुद्धिः । स्वभावः ।ब्रह्म । देहः । इत्यमरः ॥ मनः । इति मेदिनी ॥परव्यावर्त्तनं । इति धरणी ॥ पुत्त्रः । इतिशब्दरत्नावली ॥ जीवः । अर्कः । हुताशनः ।वायुः । इति हेमचन्द्रः ॥(“आत्मज्ञः करणैर्योगात् ज्ञानं तस्य प्रवर्त्तते” ।“अय्यक्तमात्मा क्षेत्रज्ञः शाश्वतो विभुरव्ययः” ।“चेतवान् यतश्चात्मा ततः कर्त्ता निरुच्यते” ।“देही सर्व्वगतोह्यात्मा स्वेस्वे संस्पर्शनेन्द्रिये ।सर्व्वाः सर्व्वाश्रयस्थास्तु नात्मातो वेत्ति वेदनाः” ॥“विभुत्वमतएवास्य यस्मात् सर्व्वगतो महान् ।मनसश्च समाधानात् पश्यत्यात्मा तिरस्कृतं” ॥“आदिर्नास्त्यात्मनः क्षेत्रपारम्पर्य्यमनादिकं” ।“स सर्व्वगः सर्व्वशरीरभृच्च,स विश्वकर्म्मा स च विश्वरूपः ।स चेतनाधातुरतीन्द्रियश्च,स नित्ययुक् सानुशयः सएव ॥रसात्ममातापितृसम्भवानि,भूतानि विद्याद्दश षट् च देहे ।चत्वारि तत्रात्मनि संश्रितानि,स्थितस्तथात्मा च चतुर्षु तेषु ॥भूतानि मातापितृसम्भवानि,रजश्च शुक्रञ्च वदन्ति गर्भे ।आप्याय्यते शुक्रमसृक्सुभूतै-र्यैस्तानि भूतानि रसोद्भवानि ॥भूतानि चत्वारि तु कर्म्मजानि,यान्यात्मलीनानि विशन्ति गर्भं ।सवीजधर्म्माह्यपरापराणि,देहान्तराण्यात्मनि याति याति ॥रूपाद्विरूपप्रभवः प्रसिद्धः,कर्म्मात्मकानां भनसो मनस्तः ।भवन्ति येत्वाकृतिबुद्धिभेदाःरजस्तमस्तत्र च कर्म्महेतुः ॥अतीन्द्रियैस्तैरतिसूक्ष्मरूपैरात्मा कदाचिन्न वियुक्तरूपः ।न कर्म्मणा नैव मनोमतिभ्यांन चाप्यहङ्कारविकारदोषैः” ॥इति चरकः ॥“यदा यदात्माकृतिमानयं भवे-त्तदा मनस्तत्त्वधितिष्ठतीन्द्रियं ।ततो मनोऽधिष्ठितमिन्द्रियं घटे-प्रवर्त्तते संशयबुद्धिसम्भवे” ॥इति वैद्यकवादार्थदर्पणं ॥)आत्माधीनः, पुं, (आत्मनोऽधीनः ।) पुत्त्रः । प्राणा-धारः । श्यालकः । विदूषकः । इति हेमचन्द्रः ॥आत्माशी, [न्] पुं, (आत्मन् + अश + णिन् ।)मत्स्यः । इति त्रिकाण्डशेषः ॥आत्माश्रयः, पुं, (आत्मा आश्रयो यस्य सः ।) तर्क-विशेषः । तस्य लक्षणं । स्वापेक्षापादकप्रसङ्गत्वं ।अपेक्षा च ज्ञाप्तौ उत्पत्तौ स्थितौ च ग्राह्या ।तत्र्याद्या यथा । एतद्घटज्ञानं यद्येतद्घटज्ञानजन्यंस्यात् एतद्घटज्ञानभिन्नं स्यात् । द्वितीया तु घटो-ऽयं यद्येतद्घटजनकः स्यात् एतद्घटभिन्नः स्यात् ।तृतीया च अयं घटो यद्येतद्घटवृत्तिः स्यात्तथात्वेनोपलभ्येत इति ॥आत्मीयः, त्रि, (आत्मन् + छ ।) स्वकीयः । अन्त-रङ्गः । इति हेमचन्द्रः ॥ (यथा रघुवंशे ।“प्रसादमात्मीयमिवात्मदर्शः” ।कुमारसम्मवे । २ । १९ ॥“किमिदं द्युतिमात्मीयां न बिभ्रति यथा पुरा” ।)आत्मोद्भवा, स्त्री, (आत्मनः उद्भवो यस्याः सा ।)माषपर्णो । इति राजनिर्घण्टः ॥ कन्या । पुत्त्रे, पुं ॥(माषपर्णीशब्देऽस्या विशेषो ज्ञातव्यः ।)
https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः

   आत्मन्   ātman आत्मन् m. [अत्-मनिण् Uṇ 4.152 said to be from अन् to breathe also] 'आत्मा यत्नो धृतिर्बुद्धिः स्वभावो ब्रह्मवर्ष्म च'इत्यमरः 1 The soul, the individual soul, the breath, the principle of life and sensation; किमात्मना यो न जितेन्द्रियो भवेत् H.1; आत्मानं रथिनं विद्धि शरीरं रथमेव तु Kaṭh.3.3. (In आत्मा नदी संयमपुण्यतीर्था H.4.87 आत्मन् is compared to a river). -2 Self, oneself; in this sense mostly used reflexively for all three persons and in the singular number, masculine gender, whatever be the gender or number of the noun to which it refers; अनया चिन्तयात्मापि मे न प्रतिभाति Ratn.1; आश्रमदर्श- नेन आत्मानं पुनीमहे Ś.1; गुप्तं ददृशुरात्मानं सर्वाः स्वप्नेषु वामनैः R.1.6,4.35,14.57; Ku.6.2; देवी... प्राप्तप्रसवमात्मानं गङ्गादेव्यां विमुञ्चति U.7.2; गोपायन्ति कुलस्त्रिय आत्मानमात्मना Mb.; K.17; sometimes used in pl. also; आत्मनः स्तुवन्ति Śi.17.19; Māl.8. -3 Supreme deity and soul of the universe, Supreme Soul, Brahman; तस्माद्वा एतस्मादात्मन आकाशः संभूतः T. Up.2.1.1; Ms.1.15,12.24. -4 Essence, nature; काव्यस्यात्मा ध्वनिः S. D., see आत्मक below. -5 Character, peculiarity; आत्मा यक्ष्मस्य नश्यति Rv.1. 97.11. -6 The natural temperament or disposition; Bhāg.11.22.2. -7 The person or whole body (con- sidered as one and opposed to the separate members of it); स्थितः सर्वोन्नतेनोर्वीं क्रान्त्वा मेरुरिवात्मना R.1.14; योस्या- त्मनः कारयिता Ms.12.12; Ki.9.66. -8 Mind, intellect; मन्दात्मन्, नष्टात्मन्, महात्मन् &c. अथ रामः प्रसन्नात्मा श्रुत्वा वायु- सुतस्य ह Rām.6.18.1. -9 The understanding; cf. आत्म- संपन्न, आत्मवत् &c. -1 Thinking faculty, the faculty of thought and reason. -11 Spirit, vitality, courage; त्यक्त्वा$$त्मानमथाब्रवीत् Mb.12.18.6. -12 Form, image; आत्मानमाधाय Ku.3.24 assuming his own form; 2.61; संरोपिते$प्यात्मनि Ś.6.24 myself being implanted in her. -13 A son; 'आत्मा वै पुत्रनामासि'इति श्रुतेः । तस्यात्मा शितिकण्ठस्य Śi.2.61. -14 Care, efforts, pain. -15 The sun. -16 Fire. -17 Wind, air. -18 Mental quality; बाहुश्रुत्यं तपस्त्यागः श्रद्धा यज्ञक्रिया क्षमा । भावशुद्धिर्दया सत्यं संयमश्चात्मसंपदः ॥ Mb.12.167.5. आत्मन् is used as the last member of comp. in the sense of 'made or consisting of'; see आत्मक. The form त्मन् is also found to be used; कृतार्थं मन्यते त्मानं Mb. [cf. Gr. atmos, aitmen-Comp. -अधीन a. 1 dependent on oneself, independent. -2 sentient, existing. (-नः) 1 a son. -2 a wife's brother. -3 the jester or विदूषक (in dramatic literature). -अनुरूप a. worthy of oneself; तस्यामात्मानुरूपायामात्मजन्मसमुत्सुकः Ku. 1.18; R.1.33. -अनुगमनम् peronal attendance; शश्वदा- त्मानुगमनेन गाम् R.1.88. -अपहारः concealing oneself; कथं वा आत्मापहारं करोमि Ś.1. -अपहारकः one who pre- tends to belong to a higher class than his own, an impostor, a pretender; यो$न्यथा सन्तमात्मानमन्यथा सत्सु भाषते । स पापकृत्तमो लोके स्तेन आत्मापहारकः ॥ Ms.4.255. -आदिष्ट a. self-counselled. (-ष्टः) a treaty dictated by the party wishing it himself; स्वसैन्येन तु संघानमात्मादिष्ट उदाहृतः H.4.121. -आनन्द a. Rejoicing in the soul or Supreme Spirit; आत्ममिथुनः आत्मानन्दः Ch. Up.7.25.2. -आराम a. 1 striving to get knowledge; (as an ascetic or योगिन्), seeking spiritual knowledge; आत्मारामा विहितरतयो निर्विकल्पे समाधौ Ve.1.23. -2 selfpleased, delighted in self; आत्मारामः फलाशी. see आत्मानन्द Bh.3.93; cf. Bg.5.24. -आशिन् m. a fish supposed to feed on its young, or on the weakest of its species; cf. मत्स्या इव जना नित्यं भक्षयन्ति परस्परम् Rām. -आश्रय a. 1 dependent on oneself or on his own mind. -2 About or relating to oneself; कौलीनमात्माश्रयमाचचक्षे R.14.36. (-यः) 1 self dependence. -2 innate idea, abstract knowledge independent of the thing to be known. -ईश्वर a. Self-possessed, master of self; आत्मेश्वराणां न हि जातु विघ्नाः समाधिभेदप्रभवो भवन्ति Ku.3.4. -उदयः self-exaltation or elevation; आत्मोदयः परज्यानिर्द्वयं नीतिरितीयति Śi.2.3 -उद्भव a. born or produced from oneself. (-वः) 1 a son; आत्मोद्भवे वर्णचतुष्टयस्य R.18.12. -2 Cupid. -3 sorrow, pain. (-वा) 1 daughter. -2 intellect. -3 N. of a plant (माषपर्णी; Mar. रानउडीद). -उपजीविन् m. 1 one who lives by his own labour; Ms.7.138. -2 a day-labourer. -3 one who lives by his wife (Kull. on Ms.8.362). -4 an actor, public performer. -उपनिषद् f. N. of an उपनिषद् which treats of the Supreme Spirit. -उपम a. like oneself. (-मः) a son. -औपम्यम् Likeness to self. आत्मौपम्येन सर्वत्र Bg.6.32. -कर्मन् One's own duty; आत्मौपकर्मक्षमं देहं क्षात्रो धर्म इवाश्रितः R. -काम a. 1 loving oneself, possessed of self-conceit, proud; आत्मकामा सदा चण्डी Rām.2.7.1. -2 loving Brahman or the Supreme Spirit only; भगवन् वयमात्मकामाः Maitr. Up.7.1. -कार्यम् one's own business, private affair. -कृत a. 1 self-executed, done by oneself; पौरा ह्यात्मकृताद्दुःखाद्विप्रमोच्या नृपात्मजैः Rām.2.46.23. -2 done against one's own self; Vāj.8.13. -गत a. produced in one's mind; ˚तो मनोरथः Ś.1. (-तम्ind. aside (to oneself) being considered to be spoken privately (opp. प्रकाशम् aloud); frequently used as a stage-direction in dramas; it is the same as स्वगतम् which is thus defined; अश्राव्यं खलु यद्वस्तु तदिह स्वगतं मतम् S. D.6. -गतिः f. 1 course of the soul's existence. -2 one's own course; Bhāg.5.17.3. ˚गत्या by one's own act. -गुप्ता The plant Mucuna Pruritus Hook (Mar. कुयली). -गुप्तिः f. a cave, the hiding place of an animal, lair. -ग्राहिन् a. selfish, greedy. -घातः 1 suicide. -2 heresy. -घातकः, -घातिन् 1 a suicide, a self-destroyer; K.174; व्यापादयेद् वृथात्मानं स्वयं यो$गन्युदका- दिभिः । अवैधेनैव मार्गेण आत्मघाती स उच्यते ॥ -2 a heretic. -घोषः 1 a cock (calling out to himself). -2 a crow. -3 One who flatters himself. cf. आत्मघोषो वायसे स्यादात्म- स्तुतिपरे$पि च Nm. -जः, -जन्मन् m. -जातः, -प्रभवः, -संभवः, -समुद्भवः 1 a son; यः स वासवनिर्जेता रावणस्यात्म- संभवः Rām.6.86.33; हतान्निहन्मेह नरर्षभेण वयं सुरेशात्मसमु- द्भवेन Mb.7.118.2; तमात्मजन्मानमजं चकार R.5.36; तस्यामात्मानुरूपायामात्मजन्मसमुत्सुकः R.1.33; Māl.1; Ku.6.28. -2 Cupid; ममायमात्मप्रभवो भूयस्त्वमुपयास्यति Rām.4.1.34. -3 a descendant; मृगयां विरन्काश्चिद्विजने जनकात्मजः Mb.12.39.1. -जा 1 a daughter; वन्द्यं युगं चरणयोर्जनकात्मजायाः R.13.78; cf. नगात्मजा &c. -2 the reasoning faculty, understanding. -जयः 1 one's own victory. -2 victory over oneself, self-denial or abnega- tion. -ज्योतिस् n. The light of the soul or Supreme Spirit (चैतन्य); कौस्तुभव्यपदेशेन स्वात्मज्योतिर्बिभर्त्यजः Bhāg. 12.11.1. -ज्ञः, -विद् m. a sage, one who knows himself; तस्मादात्मज्ञं ह्यर्चयेद्भूतिकामः Muṇḍ.3.1.1. -ज्ञानम् 1 self-knowledge. -2 spiritual knowledge, knowledge of the soul or the Supreme Spirit; सर्वेषामपि चैतेषामात्मज्ञानं परं स्मृतम् Ms.12.85,92. -3 true wisdom. -तत्त्वम् 1 the true nature of the soul or the supreme spirit; यदात्म- तत्त्वेन तु ब्रह्मतत्त्वं प्रपश्येत Śvet.2.15. -2 the highest thing. ˚ज्ञः a sage versed in the Vedānta doctrines. -तृप्त a. Self-satisfied; आत्मतृप्तश्च मानवः Bg.3.17. -तुष्टि a. self-satisfied. (-ष्टिः f.) self-satisfaction. -त्यागः 1 self-sacrifice. -2 suicide. -त्यागिन् m. a. 1 suicide; आत्मत्यागिन्यो नाशौचोदकभाजनाः Y.3.6. -2 a heretic, an unbeliever. -त्राणम् 1 self-preservation. -2 a body-guard; Rām.5. -दर्शः a mirror; प्रसादमात्मीयमिवात्म- दर्शः R.7.68. -दर्शनम् 1 seeing oneself. -2 spiritual knowledge, true wisdom; सर्वभूतात्मदर्शनम् Y.3.157; cf. Ms.12.91. see आत्मयाजिन. -दा a. Ved. granting one's existence or life; य आत्मदा बलदा यस्य विश्व Rv.1.121.2. -दानम् self-sacrifice, resigning oneself. -दूषि a. Ved. corrupting the soul; self-destroying; Av.16.1.3. -देवता a tutelary deity. -द्रोहिन् a. 1 self-tormenting, fretful. -2 suicide. -नित्य a. being constantly in the heart, greatly endeared to oneself. -निन्दा self-reproach. -निवेदनम् offering oneself (as a living sacrifice to the deity). -निष्ठ a. one who constantly seeks for spiritual knowledge. -पराजित a. one who has lost himself (Ved.) Av.5.18.2. -पुराणम् N. of a work elucidating the Upaniṣads (consisting of 18 chapters). -प्रत्ययिक a. knowing from one's experience; आत्मप्रत्ययिकं शास्त्रमिदम् Mb.12.246.13. -प्रबोधः 1 cognition of the soul; self-consciousness. -2 title of an उपनिषद्. -प्रभ a. self-illuminated. -प्रवादः 1 conversation about the Supreme Spirit. -2 N. of the seventh of the fourteen Pūrvas of the Jainas. -प्रशंसा self-praise. -बन्धुः, -बान्धवः 1 one's own kinsman; आत्ममातुः स्वसुः पुत्रा आत्मपितुः स्वसुः सुताः । आत्ममातुलपुत्राश्च विज्ञेया ह्यात्मबान्धवाः Śabdak. i. e. mother's sister's son, father's sister's son, and mother's brother's son. -2 the soul, the self. -बोधः 1 spiritual knowledge. -2 knowledge of self. -3 N. of a work of Śaṅkarāchārya. -भावः 1 existence of the soul; संयोग एषां न तु आत्मभावात् Śvet.1.2. -2 the self proper, peculiar nature. -3 the body. -भू a. self-born, self-existent. (-भूः) वचस्यवसिते तस्मिन् ससर्ज गिरमात्मभूः Ku.2.53,3.16,5.81. -योनिः 1 N. of Brahmā; -2 N. of Viṣṇu. -3 N. of Śiva; Ś.7.35. -4 Cupid, god of love. -5 a son. (-भूः f.1 a daughter. -2 talent, understanding. -भूत a. 1 self-produced; peculiar, belonging to. -2 attached, devoted, faithful; तत्रात्मभूतैः कालज्ञैरहार्यैः परिचारकैः Ms.7.217 (Kull. = आत्मतुल्य). (-तः) 1 a son. -2 Cupid. (-ता) 1 a daughter. -2 talent. -भूयम् 1 peculiarity, own nature. -2 Brahman. -मात्रा a portion of the Supreme Spirit. -मानिन् a. self-respecting, respectable. -2 arro- gant, proud; विवेकशून्यः प्रभुरात्ममानी, महाननर्थः सुहृदां बतायम् Bk.12.83. -मूर्तिः 1 a brother; भ्राता स्वमूर्तिरात्मनः -2 soul, Supreme Spirit. -मूल a. self-luminous, shining (God); स आत्ममूलो$वतु मां परात्परः Bhāg.8.3.4. -मूलि n. the universe. -मूली N. of a plant (दूरालभा; Mar. धमासा). -याजिन् 1 sacrificing for oneself or himself. m. a learned man who studies his own nature and that of the soul (of others) to secure eternal felicity, one who looks upon all beings as self; सर्व- भूतेषु चात्मानं सर्वभूतानि चात्मनि । समं पश्यन्नात्मयाजी स्वाराज्यम- धिगच्छति ॥ Ms.12.91. -योनिः = ˚भू m. a. v. ददर्श चक्रीकृतचारुचापं प्रहर्तुमभ्युद्यतमात्मयोनिम् Ku.3.7. -रक्षा 1 N. of a plant (इन्द्रवारुणीवृक्ष). -2 self protection. -लाभः birth, production, origin; यैरात्मलाभस्त्वया लब्धः Mu.3.1, 5.23; Ki.3.32,17.19,18.34; K.239. -लोमन् 1 the hair of the body. -2 the beard. -वञ्चक a. self-deceiver. -वञ्चना self-delusion; self-deception. -वधः, -वध्या, -हत्या suicide. -वर्ग्य a. of one's party or class; उद्बाहुना जुहुविरे मुहुरात्मवर्ग्याः Śi.5.15. -वश a. depending on one's own will; यद्यत्परवशं कर्म तत्तद्यत्नेन वर्जयेत् । यद्यदात्मवशं तु स्यात्तत्तत्सेवेत यत्नतः ॥ Ms.4.159, सर्वमात्मवशं सुखम् 16. (-शः) 1 self-control, self-government. -2 one's control, subjection; ˚शं नी, ˚वशीकृ to reduce to subjection, win over. -वश्य a. having control over self, self-possessed, self-restrained; आत्मवश्यैर्विधेयात्मा Bg.2.64. -विक्रयः sale of oneself or one's own liberty; Ms.11.59. -विद् m. 1 a wise man, sage; as in तरति शोकमात्मवित्; सो$हं भगवो मन्त्रविदेवास्मि नात्मविच्छ्रुतह्येव Ch. Up.7.1.3. -2 knowing one's own self (family &c.); य इहात्मविदो विपक्षमध्ये Śi.2.116. -3 N. of Śiva. -विद्या knowledge of the soul, spiritual knowledge; आन्वीक्षिकीं चात्मविद्याम् Ms.7.43. -विवृद्धिः, -वृद्धिः f. self-exaltation. -वीर a. 1 mighty, powerful, strong. -2 appropriate, suitable, good for oneself (as diet &c.). -3 existent, sentient. (-रः) 1 a son. -2 wife's brother. -3 a jester (in dramas); आत्मवीरः प्राणवति श्यालके च विदूषके. -वृत्तम्, -वृत्तान्तः account of one's own self, autobiography. -वृत्ति a. dwelling in Atman or soul. (-त्तिः f.1 state of the heart; किमेभिराशोपहतात्मवृत्तिभिः Ku.5.76. -2 action as regards oneself, one's own state or circum- stance; विस्माययन् विस्मितमात्मवृत्तौ R.2.33. -3 practising one's own duties or occupation. -शक्तिः f. one's own power or ability, inherent power or effort; दैवं निहत्य कुरु पौरुषमात्मशक्त्या Pt.1.361 to the best of one's power. -2 illusion. -शल्या N. of a plant (शतावरी). -शुद्धिः f. self-purification; Ms.11.164; योगिनः कर्म कुर्वन्ति संगं त्यक्त्वा$त्मशुद्धये Bg.5.11. -श्लाघा, -स्तुतिः f. self-praise, boasting, bragging. -संयमः self-restraint; आत्मसंयमयो- गाग्नौ जुह्वति ज्ञानदीपिते Bg.4.27. -संस्थ a. Based upon or connected with the person; आत्मसंस्थं मनःकृत्वा Bg.6.25. -सतत्त्वम् See आत्मतत्त्वम्; आत्मसतत्त्वं विगणयतः Bhāg.5.13.24. -सद् a. Ved. dwelling in oneself; आत्मसदौ स्तं मा मा हिंसिष्टम् Av.5.9.8. -संतुष्ट a. self-sufficient. -सनि a. Ved. granting the breath of life. -सम a. worthy of oneself, equal to oneself; कार्ये गुरुण्यात्मसमं नियोक्ष्ये Ku.3.13. -संदेहः 1 internal or personal doubt. -2 risk of life, personal risk. -संभवः, -समुद्भवः 1 a son; चकार नाम्ना रघुमात्मसंभवम् R.3.21,11.57,17.8. -2 Cupid, god of love. -3 epi- thet of Brahmā, Viṣṇu, or Śiva. -4 the Supreme Being (परमात्मन्). (-वा) 1 a daughter. -2 understanding, intellect. -संपन्न a. 1 self-possessed; Pt.1.49. -2 talented, intelligent; तमात्मसंपन्नमनिन्दितात्मा कृत्वा युवानं युवराजमेव R.18.18. -संभावना self-conceit; K. -सिद्धिः f. self-aggrandizement, attainment of object or purpose; आगच्छदात्मसिद्ध्यर्थं गोकर्णस्याश्रमं शुभम् Rām.7.9.47. -सुख a. self-delighted. (-खम्) the highest bliss. -स्थ a. At one's own disposal (स्वाधीन); तावदेव मया सार्धमात्मस्थं कुरु शासनम् Rām.2.21.8. -हन् a. 1 one who kills his own soul (neglects its welfare &c.); ये के चात्महनो जनाः Śvet.3. -2 a suicide, self-destroyer. -3 a heretic, unbeliever. -4 a priest in a temple, a servant or attendant upon an idol. -हननम्, -हत्या suicide. -हित a. beneficial to oneself. (-तम्) one's own good or welfare. 
   आत्मक   ātmaka आत्मक a. (At the end of comp.) Made up or composed of, of the nature or character of &c.; पञ्च five- fold, made up of five; संशय˚ of a doubtful nature; so दुःख˚ sorry, grieved; दहन˚ hot; विष˚ poisonous &c. &c.>
   आत्मकीय आत्मीय   ātmakīya ātmīya आत्मकीय आत्मीय a. Belonging to oneself, one's own; सर्वः कान्तमात्मीयं पश्यति Ś.2; स्वामिनमात्मीयं करिष्यामि H.2. win over; अहमात्मीयो न भविष्यामि Mk.8 I shall lose my life; आत्मीयं कुर्वन्ति subject K.135,167; अय- मात्मीयः क्रियताम् 12; let him be taken under your protec- tion; प्रसादमात्मीयमिवात्मदर्शः R.7.68; Ku.2.19; kindred, related, of kin, न कश्चिच्चण्डकोपानामात्मीयो नाम भूभुजाम् Bh.2.57.
   आत्मता त्वम्   ātmatā tvam आत्मता त्वम् Identity with self, spirituality.
   आत्मना   ātmanā आत्मना ind. (instr. of आत्मन्) Used reflexively; अथ चास्तमिता त्वमात्मना R.8.51 thou thyself; आत्मना शुकनासमादाय K.293. It is oft. compounded with ordinal numerals; e. g. ˚द्वितीयः second including himself, i. e. himself and one more; so ˚तृतीयः himself with two others; ˚सप्तमः Being oneself the seventh; आत्मना सप्तमो राजा निर्ययौ गजसाह्वयात् Mb.17.1.25. (Apte)


   आत्मन्वत््   -vín animate. आत्मन््   âtmán breath; soul; life, self (sg.=rfl. prn.); essence, nature; peculiarity; body; intellect, understanding; universal soul. (Macdonell)


ātma आत्म or ātmā आत्मा m. (sg. dat. ātmas आत्मस्, Śiv. 1016, 1823), the individual soul, self, principle of life, Śiv. 473 (ātma), 776 (ātmā), 866 (id.); the Great Self, the soul of all things, Brahma (Śiv. 993, 1053); --˚ as in trayōdashĕ-ātma, having thirteen selves, consisting of thirteen (Śiv. 524). -būd -बूद् m. knowledge of self (sg. ag. -būdi -बूदि॒, Śiv. 1812). -dēv -देव् m. a tutelary deity (Śiv. 1761, 1772). ātmārām आत्माराम् m. He who rejoices in His Self, or in the Supreme Spirit, a name of the Deity (Śiv. 1481).(Kashmiri)

Welcome to Hinducivilization group in a NEW PORTAL; invite your friends to join the discussions

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Reason for setting up the new group is this notice for Attention: Starting December 14, 2019 Yahoo Groups will no longer host user created content on its sites. New content can no longer be uploaded after October 28, 2019. Sending/Receiving email functionality is not going away, you can continue to communicate via any email client with your group members
​I have set up a new group at this URL:
Like google groups, the .io is a discussion group portal.

The address of the new group is: 
hinducivilization@groups.io

All subscribers can post to the group. I request all members of yahoogroups to move their subscriptions to the new group:
Hindu civilization group is intended to provide a forum for discussions on multi-disciplinary civilization studies with special reference to Angus Maddison's famous bar chart which showed that Ancient India accounted for over 30% of Global GDP in 1 CE. The enquiry is to understand how this stage of Ancient India as an Economic Superpower was reached from the days of Tin-Bronze Ages.

Purpose: Multi-disciplinary civilization studies

Focus Areas: Economic and Cultural history (itihaasa); Ancient Far East, Ancient Near East, Indian Ocean Rim, Ancient Maritime Tin Route linking Hanoi and Haifa

You are welcome to post to the new .io group called hinducivilization and disseminate this email to your cc-lists, groups requesting them to join the discussions in the newgroup.hinducivilization. All are requested to send their posts to hinducivilization@groups.io 

Here is a link to the first topic posted 

Can a computer imitate the brain and gain ātman, 'consciousness'?


Namaskaram. Kalyanaraman

-- 

Itihāsa. Can Sarasvati river of 7th-3rd m BCE and Yamuna as navigable waterways be drawn on Ancient India map?

Arguments positing supply of copper and tin by Meluhha merchants, for the Tin-Bronze revolution in Ancient Far East in 3rd millennium BCE

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An update will appear in JIJS 17 (2019) as a communication. The original article appeared in  Journal of Indo-Judaic Studies (JIJS), Vol. 1, Number 11 (2010) — The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman These articles show three tin ingots found in a shipwreck in Haifa (ca. 1500 BCE?) with Indus Script inscriptions. The readings of the inscriptions contain 3 hieroglyphs which are read rebus in Meluhha (Ancient Indian speech form): 1. ranku‘liquid measure’, ranku‘antelope’ rebus: ranku‘tin ore’; 2. hieroglyph: X cross:dATu ‘cross’ rebus: dhatu‘mineral ore’; 3. muh‘face’ rebus; muh‘ingot’. Thus, the threehieroglyphs on each tin ingot reads ranku dhatu muh‘tin mineral ore ingot’.



Figure: Three tin ingots found in a shipwreck in Haifa and dated to ca. 1500 BCE?

 

1. Archaeological evidence for presence of Meluhha speakers (Indian sprachbund, 'language union') in Ancient Near East

https://tinyurl.com/y26gb4td 

2. Underlying language of Indus Script is Proto-Indo-European (Meluhha). Ancient Far Eastern origin (Meluhha) posited for most of the tin used in southern Mesopotamia: Daniel T. Potts (1967). 

https://tinyurl.com/yxhxo2rb  

3. Positing an Ancient Maritime Tin Route from Ancient Far East to Ancient Near East, based on Archaeometallurgical provenance study of tin-bronze artifacts of Mesopotamia https://tinyurl.com/yyeyfkxu

 

In item 3, the remarkable finding by Begemann, F. et al (2009), has been reported that: based on lead isotope evidence the urudu-luh-ha (refined copper metal) used in Mesopotamia for tin alloying is from India, which is also contracted with an import via Dilmun. This finding, has to be read in the context of Daniel T. Potts view cited in item 2, positing that most of the tin used in southern Mesopotamia came from the Ancient Far East (from Thailand through Meluhha).



Shu-ilishu's Cylinder seal. Courtesy Department des Antiquities Orientales, Musee du Louvre, Paris. The cuneiform text reads: 

 

Shu-Ilishu EME.BAL.ME.LUH.HA.KI 

(interpreter of Meluhha language).

 

The Shu-ilishu cylinder seal (dated ca. 2000 BCE) is a clear evidence of the Meluhhan merchants trading in copper and tin, signified by the field symbols vividly portrayed on the cylinder seal. The Meluhha merchant carries melh, mr̤eka 'goat or antelope' rebus: milakkhu 'copper' and the lady accompanying the Meluhhan carries a ranku 'liquid measure' rebus: ranku 'tin'; On the field is shown a crucbile: kuṭhāru 'crucible' rebus: kuṭhāru 'armourer'.

 

Thus, the cylinder seal signifies a trade transaction between a Mesopotamian armourer (Akkadian speaker) and Meluhhans settling a trade contract for their copper and tin. The transaction is mediated by Shu-ilishu, the Akkadian interpreter of Meluhha language.


Largest tin belt of the globe is in Ancient Far East (US Geological Survey)

Begemann, Friedrich & SCHMITT-STRECKER, S. (2009). Über das frühe Kupfer Mesopotamiens. Iranica Antiqua. 44. 1-45. 10.2143/IA.44.0.2034374. A lead isotope study »On the Early copper of Mesopotamia« reports on copper-base artefacts ranging in age from the 4 th millennium BC (Uruk period) to the Akkadian at the end of the 3 rd millennium BC. Arguments are presented that, in the (tin)bronzes, the lead associated with the tin used for alloying did not contribute to the total in any detectable way. Hence, the lead isotopy traces the copper and cannot address the problem of the provenance of tin. The data suggest as possible source region of the copper a variety of ore occurrences in Anatolia, Iran, Oman, Palestine and, rather unexpectedly (by us), from India. During the earliest period the isotopic signature of ores from Central and North Anatolia is dominant; during the next millennium this region loses its importance and is hardly present any more at all. Instead, southeast Anatolia, central Iran, Oman, Feinan-Timna in the rift valley between Dead Sea and Red Sea, and sources in the Caucasus are now potential suppliers of the copper. Generally, an unambiguous assignment of an artefact to any of the ores is not possible because the isotopic fingerprints of ore occurrences are not unique. In our suite of samples bronze objects become important during ED III (middle of the 3 rd millennium BC) but they never make up more than 50% of the total. They are distinguished in their lead isotopy by very high 206 Pb-normalized abundance ratios. As source of such copper we suggest Gujarat/ Southern Rajasthan which, on general grounds, has been proposed before to have been the most important supplier of copper in Ancient India. We propose this Indian copper to have been arsenic-poor and to be the urudu-luh-ha variety which is one of the two sorts of purified copper mentioned in contemporaneous written texts from Mesopotamia to have been in circulation there concurrently.

Conclusion

It is likely that most of the copper and tin which powered the Tin-Bronze revolution in Ancient Near East occurred through the resources of copper and tin routed through Ancient Meluhha (Indus Valley Civilization) merchants – in particular, seafaring Meluhha merchants and their tradingagents operating in the sites on the Persian Gulf.


Many Indian Icons are Ersatz - why do we tolerate this Travesty? -- Jay Bhattacharjee

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indiafacts.org/many-indian-icons-are-ersatz-why-do-we-tolerate-this-travesty/
Not only do we perform appallingly in normal sports and score very low in overall physical health, we also have a huge number of couch-potatoes and total nerds who sit glued to the television for days on end to watch cricket. Pot-bellied and mindless citizens can never pose threats to the ruling junta.

This essay is prompted by my recent sighting of Sachin Tendulkar at the annual Air Force Day Parade and flypast earlier in the month. The experience was so galling and distasteful that I decided to put my thoughts down for posterity. However, I felt that I should, perforce, go through a much-needed cooling down period before I put pen to paper (or finger to keyboard, to be literally accurate). My feelings on this issue were exacerbated because I had witnessed this travesty a number of times earlier at the same function over the last few years.
The great cricketer, a Bharat Ratna winner, Parliamentarian, astute business person and Honorary Group Captain in the IAF, was, of course. sitting next to the Chief of Air Staff and the Chief of Army Staff in the very first row of participants and invitees. Along with the other armed forces personnel (of all ranks) present at the ceremony, ST or Tendulkar (as he will be referred to in this essay) was obliged to come up with a military salute a number of times during the ceremony.
The quality of ST’s performance was dismal and pathetic. He seemed to have put in no effort at all in learning how to go through the most basic exercise that a soldier needs to do. And readers would do well to remember that our Air Force (like the Army and the Navy) has its own specific variant of the salute.
However, this was not what upset me (and many other Services personnel) I have spoken to in the last few years. The most galling aspect of ST’s conduct was his unkempt and unmilitary turn-out at the Air Force Day ceremonies. Our man landed up at these auspicious occasions without bothering to trim his hair as is required under military protocol for all Services personnel, except, of course, for Sikh warriors. It was such an unseemly spectacle that many people, including yours truly, were very unhappy to see it. In contrast, ST’s fellow-cricketer Mahendra Singh Dhoni has done the Army, the country (and himself) proud by his commendable conduct as a Lt. Colonel in the Territorial Army.
We now need to widen the scope of this essay to cover the entire spectrum of issues that should be analysed. The principal theme I want to present for my readers is the Indian penchant for going overboard with our national icons, whether heroines or heroes. As we go along, the essay will, of course, bring out certain unsavoury aspects of our national culture and psyche.
In the case of ST’s Bharat Ratna, there was an air of inevitability. It had to happen some day or the other. After all, it was bestowed on him by a desperate UPA Government that sought to clutch at every straw it could find. In 2013, I could see a leaking UPA ship of State that was listing heavily to port or starboard (take your pick). Faced with this calamity, the gang of Sonia, Rahul and Manmohan Singh, the sozzled captain and chief officers, could only think of earning a few brownie points as the waters were rushing in.
There was also a high probability that the shabby denouement happened because the Clown Prince (Rahul) discovered at a match in Mumbai’s Wankhede Stadium in October 2013 that a sizable number of people were clearly very happy to take the mickey out of him. This must have convinced the flunkeys in the Home Ministry and other exalted agencies to conclude that a Bharat Ratna for the little master was a sure-fire way to deflect the public mood. With a pliant media at its command, this looked a certain winner for the netas and factotums in 24 Akbar Road and 10 Janpath.
Never mind that the highest accolade the Republic can grant was besmirched and tainted by this decision. Probably for ever, if not for the foreseeable future. What India witnessed was not the proverbial baying for blood but a baying for the Ratna for an icon of the masses. Admittedly, an icon with feet of clay (more of it later), but an icon all the same. History is replete with examples of self-destructing regimes looking for messiahs and bagatelles to save their onions (no apologies for the mixed metaphors).
I have, in some of my earlier articles, referred to the tragi-comic ambience in the Führerbunker in Berlin in the last few days of the Third Reich as the Red Army relentlessly blasted its way to the German capital. In 1945, the Germans had no messiah waiting in the wings. However, a few decades earlier, the foreign-born Russian Tsarina (a parallel many readers will appreciate) depended on a debauched and deviant Rasputin to try and stop the country’s tortured masses from overthrowing the regime.
In these shores, we have to understandably look at the Roman Empire and the way the regime promoted the blood sport of the gladiators and lions. This ensured that the masses were amused and hypnotised while the elite continued their pillage and plunder. Looting and robbing the empire for their personal gains. Cricket in India, today, occupies the same position as gladiatorial fights did in ancient Rome. Some of the Lutyens zone denizens probably have hallucinations of the cricketers chanting “Ave, Caesar, morituri te salutant” (“Hail, Emperor (Caesar) those who are about to die salute you”) as they swagger into our cricketing stadia.
However, there is another angle here, which can possibly explain the magical and mesmeric hold that this moronic and asinine sport exercises over the minds of the Indian masses. It is the supreme sleight of hand through which the departing colonial power, the English (yes, I am leaving the Scots, the Welsh and the Irish out of this exercise) left their poisoned chalice in our land as they decamped in 1947. Cricket was the proverbial sting in the scorpion’s tail that would ensure that, arguably, the world’s oldest continuing civilisation would forever be hobbled as it moves into the second decade of the 21st century and beyond. In a more extreme version, one could think of it as a cyanide pill.
We now come to the billion-dollar question: what makes cricket so popular in India? Why has a game, that is almost peripheral in the former colonial country, been adopted by the newly-independent natives with such passion?
My thesis is that the Indian ruling class is to blame. By focussing on cricket, to the near-total exclusion of other sports, and encouraging it with all the resources at its command, our mandarins have led the country to this sorry state. The official broadcasting organisations (the good old AIR and the fledgling Doordarshan) were prime culprits. Not to be outdone were the wretched politicians. The Indian elite deliberately chose not to create physically-fit and healthy citizens. Let us not overlook the double-whammy; not only do we perform appallingly in normal sports and score very low in overall physical health, we also have a huge number of couch-potatoes and total nerds who sit glued to the television for days on end to watch cricket. Pot-bellied and mindless citizens can never pose threats to the ruling junta.
Needless to say, this popularisation was also accompanied by side-effects with significant political, social, commercial and criminal implications. With the advent of big money from business houses, funds from gambling, betting and smuggling soon followed. Soon, Indian cricket became a cross-road for all the criminal activities that one could think of. And the cess pool only widens every day. Currently, the game hovers precariously at some point between moonshining and extortion.
It is from this tainted source that the nation got its 42nd Bharat Ratna. I am not for a moment suggesting that Sachin Tendulkar, himself, has ever been tarred by the brush of unlawful or prohibited activities, To his credit, the young man has studiously kept himself away from the slime and the sleaze. Indeed, he has always been a model of probity in the crowd that he lived in. However, the deep sense of unease about our national ethos remains. Which other country would go to the extremes that we have done? Did France confer on Michel Platini a Grand Cross of the Legion of Honneur (equivalent to our Ratna)? Was the legendary American baseball player Babe Ruth given the Congressional Gold Medal or the Presidential Medal of Freedom, the two highest civilian honours in the United States? Did Bobby Moore get the Order of the Garter? The readers will get the drift of what I am saying.
It is our sense of hyperbole that is so disturbing. As a nation and society, we go overboard in almost every major area that one can think of. The result is that the dignity of what we do is undermined substantially by the accompanying hype. On a few critical issues, ST, too, has been found wanting. Blame it on the hoopla surrounding him and the halo that his fellow citizens put on him. When he was gifted a Ferrari in 2002 by an Italian company which had appointed him as its brand ambassador, the maestro, already a crorepati hundred times over, applied to the government (and successfully received) an import duty exemption. Feet of clay for the icon.
Worse followed. Conferred the rank of an honorary Group Captain by the IAF, the master blaster did absolutely nothing to promote and popularise the air warriors. Some senior Air Force veterans have openly said that the accolade conferred on ST was primarily because of an IAF chief who was a Maharashtrian. Lastly, ST’s performance as an MP was a disgrace.
Since this essay is partly about cricket and in every way about ethos and values, we must end with Kipling, the archetypal imperialist. His saving grace was that he also wielded a fine pen when it came to non-colonial matters. In his epic poem “If”, he warns his imaginary son in the following unforgettable words:
If you can talk with crowds and keep your virtue,
                      Or walk with Kings—nor lose the common touch,
If neither foes nor loving friends can hurt you,
                      If all men count with you, but none too much;
If you can fill the unforgiving minute
                      With sixty seconds’ worth of distance run,
Yours is the Earth and everything that’s in it,
                      And—which is more—you’ll be a Man, my son!
What, then, should we think of a country where ersatz heroes, particularly if they happen to be part of ten flannelled conjurers, and their maestro count for everything? I am sad to say, in conclusion, that ST and many other desi icons would not have passed muster in any genuine competition for choosing India’s true role models.


Jay Bhattacharjee is an advisor in corporate laws and finance, based in Delhi. His other areas of interest include socio-political issues and military history. He has been a commentator and columnist from the mid-1990s

Bronze Age discovery reveals surprising extent of Britain’s trade with Europe 3,600 years ago

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Comment posted by kalyan97@yahoo.com: Arguments positing supply of copper and tin by Meluhha merchants, for the Tin-Bronze revolution in Ancient Far East in 3rd millennium BCE https://bharatkalyan97.blogspot.com/2019/10/arguments-positing-supply-of-copper-and.html
October 31, 2019 9.23pm AEDT

Author

Britain’s wrestling with the scope of its future trade links with Europe may seem a very modern phenomenon. But early trade between Britain and Europe was much more widespread than previously thought. Our new research reveals remarkable evidence of a copper-mining bonanza in Wales 3,600 years ago that was so productive that the metal reached France, the Netherlands, Germany, Denmark and Sweden.
Understanding Britain during the Bronze Age (c.2,400-800BC) relies entirely on archaeological research. During this period, agricultural communities combined stock rearing with cereal cultivation. While they constructed numerous circular monuments, evidence for settlement is generally scarce before 1,500BC and on a small scale. Despite this somewhat insular vision of scattered farming communities, there is growing evidence of strong trade or exchange links with continental Europe. What the nature of these contacts were, in a pre-monetary economy, remain a matter of debate.
Copper objects (daggers, axes) first appeared in Britain around 2,400BC and were associated with people arriving from continental Europe. According to recent DNA studies, these arrivals eventually replaced most of the preexisting Neolithic population over the following centuries.
Britain’s copper supplies initially came mostly from southwest Ireland – Ross Island. As this source became exhausted, around 1,900BC, however, small mines opened in Wales and central northwest England. Production in these mines was relatively small, and had to be supplemented with metal from the continent.

Palstave axe found near the Great Orme. It is a type associated with Great Orme metal. © Great Orme MinesAuthor provided

This all radically changed around 1,700BC, with the discovery of the exceptionally rich copper ores of the Great Orme mine on the north Wales coast. This was one of the largest Bronze Age copper mines in Europe. Probably in response to the sheer richness and easily-worked nature of the Great Orme ores, all the other copper mines in Britain had closed by 1,600BC. The Great Orme mine met an increasing demand for metalwork of all types (axes, spearheads, rapiers).

Great Orme

Until recently, it was thought that the Great Orme mine was only large in size due to nearly a thousand years of small-scale seasonal working. This assertion was based on claims that the mine only produced high purity copper, which is uncommon in the artefacts of that period.
But our new research, which combines archaeological and geological expertise with the latest scientific analytical techniques, reveals a radically different picture. Extensive sampling of ores throughout the kilometres of Bronze Age workings, along with associated bronze tool fragments and copper from a nearby smelting site, have allowed “fingerprinting” of the mine metal based on chemical impurities and isotopic properties.

Distribution map of bronze objects (palstave axes) that are thought to be linked to Great Orme copper. © R.A.WilliamsAuthor provided

The surprising results revealed a distinctive metal rich in nickel and arsenic impurities and, combined with its isotopic “signature”, closely matched the metal type that dominated Britain’s copper supply for a 200-year period (c.1600-1400BC) in the Bronze Age. Remarkably, this metal is also found in bronze artefacts across parts of Europe, stretching from Brittany to the Baltic.
This very extensive distribution suggests a large-scale mining operation (in Bronze Age terms), with a full-time mining community possibly supported or controlled by farming communities in the adjacent agriculturally richer area of northeast Wales, where there are signs of wealth and hierarchy in grave goods. Geological estimates suggest that several hundred tons of copper metal were produced. This would have been enough to produce thousands of bronze tools or weapons every year, equivalent to at least half a million objects in the 200-year period.
When the mining boom turned to bust by around 1,400BC, the distinctive Great Orme metal gradually disappears. This major decline was probably due to the exhaustion of the richly mineralised central area of the mine that corresponds today to an impressive manmade underground cavern and an extensive deep area of surface mining (possibly a collapsed cavern). Both of these can be seen at the mine visitor centre. The bonanza was followed by a twilight period of many centuries, when all that remained were narrow ore veins that required a huge effort for a small output and probably only satisfied local needs.

Aerial view of the Great Orme Bronze Age mine site above Llandudno. © Great Orme MinesAuthor provided

Bronze Age trade

Tracing the metal from the extraordinary 200-year copper boom across Britain and into continental Europe suggests that Britain was much more integrated into European Bronze Age trade networks than had previously been thought. This is reinforced by fascinating new isotopic evidence from other researchers suggesting that the copper replacing that from Great Orme may have come from the Eastern Italian Alps, which would further extend the long-distance trade networks.
The next big challenge is to understand how important the exceptionally rich British tin deposits in Cornwall and Devon were in enabling the complete changeover from copper to bronze (10% tin, 90% copper), not only in Britain (c. 2,100BC) but also across Europe and beyond, where tin is very scarce. Researchers in Germany recently suggested a link between Bronze Age Israeli tin ingots and European tin deposits, rather than Central Asian deposits, and tentatively suggested a source in Cornwall, although much more research is required.
So we now have increasing evidence that Britain’s trade with continental Europe – although currently turbulent – has deep roots that go back several thousand years.
https://theconversation.com/bronze-age-discovery-reveals-surprising-extent-of-britains-trade-with-europe-3-600-years-ago-125973#_=_

Comparative population sizes of ca.2500 BCE of Sarasvati Civilization and Ancient Near East. Who powered the Tin-Bronze Revolution?

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I submit that there were more than 4 million Meluhha speakers ca.4th millennium BCE when the Indus Script was invented to document wealth accounting ledgers of the Tin-Bronze Revolution. 

The artisans and seafaring merchants had the competence even to inscribe on tin ingots. See the 3 ingots found in a shipwreck in Haifa, Israel with Indus Script inscriptions, dated ca. 1500 BCE?. The messages read rebus: ranku 'liquid measure', ranku 'antelope' rebus: ranku 'tin ore'; dATu 'cross' rebus: dhatru 'mineral ore'; muh 'face' rebus: muh 'ingot'. Thus, together, ranku dhatu muh 'tin mineral ore ingot'.

An update will appear in JIJS 17 (2019) as a communication. The original article appeared in  Journal of Indo-Judaic Studies (JIJS), Vol. 1, Number 11 (2010) — The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman These articles show three tin ingots found in a shipwreck in Haifa (ca. 1500 BCE?) with Indus Script inscriptions. The readings of the inscriptions contain 3 hieroglyphs which are read rebus in Meluhha (Ancient Indian speech form): 1. ranku ‘liquid measure’, ranku ‘antelope’ rebus: ranku ‘tin ore’; 2. hieroglyph: X cross:dATu ‘cross’ rebus: dhatu ‘mineral ore’; 3. muh ‘face’ rebus; muh ‘ingot’. Thus, the threehieroglyphs on each tin ingot reads ranku dhatu muh ‘tin mineral ore ingot’.

 Three tin ingots found in a shipwreck in Haifa and dated to ca. 1500 BCE?


1. Archaeological evidence for presence of Meluhha speakers (Indian sprachbund, 'language union') in Ancient Near East

https://tinyurl.com/y26gb4td 

2. Underlying language of Indus Script is Proto-Indo-European (Meluhha). Ancient Far Eastern origin (Meluhha) posited for most of the tin used in southern Mesopotamia: Daniel T. Potts (1967). 

https://tinyurl.com/yxhxo2rb  

3. Positing an Ancient Maritime Tin Route from Ancient Far East to Ancient Near East, based on Archaeometallurgical provenance study of tin-bronze artifacts of Mesopotamia https://tinyurl.com/yyeyfkxu

 

In item 3, the remarkable finding by Begemann, F. et al (2009), has been reported that: based on lead isotope evidence the urudu-luh-ha (refined copper metal) used in Mesopotamia for tin alloying is from India, which is also contracted with an import via Dilmun. This finding, has to be read in the context of Daniel T. Potts view cited in item 2, positing that most of the tin used in southern Mesopotamia came from the Ancient Far East (from Thailand through Meluhha).



Shu-ilishu's Cylinder seal. Courtesy Department des Antiquities Orientales, Musee du Louvre, Paris. The cuneiform text reads: 

 

Shu-Ilishu EME.BAL.ME.LUH.HA.KI 

(interpreter of Meluhha language).

 

The Shu-ilishu cylinder seal (dated ca. 2000 BCE) is a clear evidence of the Meluhhan merchants trading in copper and tin, signified by the field symbols vividly portrayed on the cylinder seal. The Meluhha merchant carries melh, mr̤eka 'goat or antelope' rebus: milakkhu 'copper' and the lady accompanying the Meluhhan carries a ranku 'liquid measure' rebus: ranku 'tin'; On the field is shown a crucbile: kuṭhāru 'crucible' rebus: kuṭhāru 'armourer'.

 

Thus, the cylinder seal signifies a trade transaction between a Mesopotamian armourer (Akkadian speaker) and Meluhhans settling a trade contract for their copper and tin. The transaction is mediated by Shu-ilishu, the Akkadian interpreter of Meluhha language.


Largest tin belt of the globe is in Ancient Far East. Sarasvati civilization artisans and seafaring merchants had mediated the transport of this tin as ingots to ANE.
Largest tin belt of the globe is in Ancient Far East (US Geological Survey)

Begemann, Friedrich & SCHMITT-STRECKER, S. (2009). Über das frühe Kupfer Mesopotamiens. Iranica Antiqua. 44. 1-45. 10.2143/IA.44.0.2034374. A lead isotope study »On the Early copper of Mesopotamia« reports on copper-base artefacts ranging in age from the 4 th millennium BC (Uruk period) to the Akkadian at the end of the 3 rd millennium BC. Arguments are presented that, in the (tin)bronzes, the lead associated with the tin used for alloying did not contribute to the total in any detectable way. Hence, the lead isotopy traces the copper and cannot address the problem of the provenance of tin. The data suggest as possible source region of the copper a variety of ore occurrences in Anatolia, Iran, Oman, Palestine and, rather unexpectedly (by us), from India. During the earliest period the isotopic signature of ores from Central and North Anatolia is dominant; during the next millennium this region loses its importance and is hardly present any more at all. Instead, southeast Anatolia, central Iran, Oman, Feinan-Timna in the rift valley between Dead Sea and Red Sea, and sources in the Caucasus are now potential suppliers of the copper. Generally, an unambiguous assignment of an artefact to any of the ores is not possible because the isotopic fingerprints of ore occurrences are not unique. In our suite of samples bronze objects become important during ED III (middle of the 3 rd millennium BC) but they never make up more than 50% of the total. They are distinguished in their lead isotopy by very high 206 Pb-normalized abundance ratios. As source of such copper we suggest Gujarat/ Southern Rajasthan which, on general grounds, has been proposed before to have been the most important supplier of copper in Ancient India. We propose this Indian copper to have been arsenic-poor and to be the urudu-luh-ha variety which is one of the two sorts of purified copper mentioned in contemporaneous written texts from Mesopotamia to have been in circulation there concurrently.

Conclusion

It is likely that most of the copper and tin which powered the Tin-Bronze revolution in Ancient Near East occurred through the resources of copper and tin routed through Ancient Meluhha (Indus Valley Civilization) merchants – in particular, seafaring Meluhha merchants and their tradingagents operating in the sites on the Persian Gulf.


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