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“द्वादश लक्षण स्तम्भ” – 12 attributes of a Pillar is of “विष्णु कण्ठ” (Octagonal) class of Hindu temple pillar


Losing Our Fears, in War and Plague -- Victor Davis Hanson. Lessons for NaMo govt. to note, seize the moment.

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Losing Our Fears, in War and Plague

American bombers on the assembly line in 1943 (Library of Congress)
Does World War II offer any lessons regarding our wrecked economy and staggering unemployment from the lockdown reaction to the coronavirus?
Seventy-five years ago this month, Germany surrendered, ending the European theater of World War II. At the war’s beginning, no one believed Germany would utterly collapse in May 1945.
On the morning of December 7, 1941, the day of the Japanese attack on Pearl Harbor, German invaders were on the verge of capturing Moscow. Britain was isolated. London had barely survived a terrible German bombing during the Blitz.
A sleeping America was neutral, but it was beginning to realize it was weak and mostly unarmed in a scary world.
But by 1943, a booming U.S. economy was fielding vast military forces from Alaska to the Sahara. Britain and America were bombing the German heartland. The Soviet Red Army had trapped and destroyed a million-man German army at Stalingrad.
How did the Allies — Britain, the Soviet Union, and the U.S. — turn around the European war so quickly?
The huge Red Army would suffer close to 11 million deaths in halting German offensives. Britain would never give up despite terrible losses at home and at sea from German bombers, rockets, and submarines.
Yet the key to victory was the U.S. economy. It would eventually outproduce all the major economies on both sides of the war combined.
But how did the U.S. arm so quickly, build such effective weapons so soon, and from almost nothing field a military some 12 million strong?
Neo-socialist president Franklin D. Roosevelt unleashed American business under the aegis of successful entrepreneurs such as Henry Ford of the Ford Motor Company, William Knudsen of General Motors, Henry Kaiser of Kaiser Shipyards, and Charles Wilson of General Electric.
They were all given relatively free rein from New Deal strictures to work and profit without burdensome government regulations. The result was a military juggernaut that overwhelmed America’s enemies.
Politics went on, but in less partisan fashion. Republicans picked up seats in the House and Senate in 1942, while Roosevelt won a fourth presidential term in 1944.
Roosevelt was able to dodge charges of rank partisanship during the war by appointing Republicans to key positions in his administration. Republican Henry Stimson became secretary of war. Former Republican vice presidential candidate Frank Knox was the all-important secretary of the Navy. Roosevelt stocked the War Production Board with Republican capitalists.
The media turned from either propagandizing the success of the New Deal or hyping its failures to warning Americans of the looming existential threat that would soon make their differences irrelevant.
Most importantly, Americans lost their fears.
From 1929 to 1938, the U.S. economy was in ruins. FDR’s New Deal could not restore economic growth or consumer confidence. As late as 1938, economic growth had sunk to negative 3.3 percent. Unemployment soared to an unsustainable 19 percent.
Only the threat of war terrified Americans into taking a gamble — to work feverishly and to ramp up industry.
By the end 1941, the early rearmament effort had spiked GDP growth to 17.7 percent. Unemployment had fallen to about 10 percent and would soon fall to about 2 percent.
Americans began losing their dread that they could do nothing against a decade-long depression. The less they feared the Axis powers, the more they restarted the economy and began to produce a plethora of goods and services.
After Pearl Harbor, Americans did not stay neutral, wait for government assistance or expect other nations to protect them.
Does World War II offer any lessons regarding our wrecked economy and staggering unemployment from the lockdown reaction to the coronavirus?
Perhaps. Government cannot restore prosperity. Only entrepreneurs and risk-takers can. Americans must master their fears of the virus and dare to go back to work.
Otherwise, locked-down states will continue to borrow to pay out public assistance without creating wealth from labor, production, and investment. Bankrupt states will beg the federal government to print money that it doesn’t have for bailouts to pay those who are not working and not creating collective wealth.
The media must stick to reporting on the virus and the ailing economy. Their often-petty obsessions with destroying President Trump are long past monotonous.
Trump himself must keep working with any Democratic governors who realize they must put their states back to work in order to have the money to pay for the fight against the virus.
Interest rates are low. Gas is as cheap as it’s been in years. Inflation remains moribund. People are tired of being housebound. They want to get back to work to make and spend money.

All that is missing is confidence — or rather, the conviction that the coronavirus is no more dangerous than were the Axis powers and can be beaten far more quickly if we show the sort of will our grandparents had.
NRO contributor VICTOR DAVIS HANSON is the Martin and Illie Anderson Senior Fellow at the Hoover Institution and the author, most recently, of The Case for Trump. https://www.nationalreview.com/2020/05/coronavirus-pandemic-us-economy-lessons-from-world-war-2/

Sarasvati holds Indus Script tradition writing instruments on her hands, Halebidu sculptures

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Indus Script Writing tradition and Sculptural representations of historical periods as a continuum of celebration of knowledge systems signified by personified Devi Sarasvati. She holds bead strings on one hand and writing instruments on the other, signifying the continuum of Sarasvati-Sindhu Civilization tradition of lapidary work, metal work by artisans setting precious stones in metalbases and strubgubg together perforated beads into necklaces. The following enlarged segment of the sculpture clearly shows an inkpot into which a writing pen is dipped. Together with the alloy metal plate as the writing pad, the writing pen is held by the middle finger and the thumb of the left hand of Devi Sarasvati.
On the sculpture of Sarasvati shown seated on Brahma's lap (Halebidu sculptural representations presented below), holds writing insruments on one of her hands. I submit that these are: alloy metal tablet curved at two ends which is held together with a writing pen nib dipped into an iron oxide inkpot, Tge writing pen nib is comparable to three golden needles found in Mohenjo-daro; one of these needles is painted with Indus Script inscription. Kernoi rings are inkpots containing iron oxide.
 
 
Kernos ring, inkpot with iron oxide as writing liquid.

File:12th-century Dancing Saraswati at Shaivism Hindu temple ...

Devi Sarasvati. Halebidu Museum. Hoysala Dynasty. 13th Century CE. Karnataka, India.
File:12th century Saraswati Devi Chennakesava temple at ...Devi Sarasvati. Chennakesava temple at Somanathapura, Karnataka, 12th cent. India.
Hoysala SculptureArtistic Sculpture Image & Photo (Free Trial) | Bigstock

Pin on India Travel PhotosFile:Saraswati, 13th century Keshava temple Somanathpur.jpg ...Somnathpur Keshava Temple: An OffBeat Cultural Trail just outside ...
" Goddess Saraswati  ( The Hindu Goddess of Learning)." Halebidu Museum. Hoysala Dynasty. 13th Century CE. Karnataka, India.
 Hoysaleswara Temple Wall Carving Of Goddess Veena Saraswathi ...


File:12th-century Brahma and Saraswati at Shaivism Hindu temple ...File:12th-century Brahma and Saraswati at Shaivism Hindu temple ...Brahma-Sarasvati from Hoyasales'wara Temple, Halebidu (Karnataka) ca.12th century CE

Image result for Saraswati imagesSarasvati, Brahma, Mallikarjuna Temple, 13th century,Basaralu, Mandya District,Karnataka. 

"Lord Brahma and Goddess Saraswati". Halebidu Museum. Hoysala Dynasty. 13th Century  CE. Karnataka,, India." Goddess Saraswati  ( The Hindu Goddess of Learning)." Halebidu Museum. Hoysala Dynasty. 13th Century CE. Karnataka, India.
File:12th-century Dancing Saraswati at Shaivism Hindu temple Hoysaleswara arts Halebidu Karnataka India.jpg"Dancing Goddess Saraswati. " Halebidu Temple, Karnataka,  India.  Hoysala Dynasty. 13th Century CE.madanika- hoysala
Madanika or "Dancing Divinity Sarasvati" Halebidu Temple, Karnataka, India. Hoysala Dynasty. 13th Century CE.

ImageSarasvati. Sihoniya, Morena. Bhopal Museum. 10th century CE

File:Indian - Sarasvati - Walters 2550.jpgHeight: 71.7 cm (28.2 in); Width: 56.5 cm (22.2 in). Walter Arts Museum. 10th cent. Varanasi? 
Image result for Saraswati images

Sarasvati , Brihadeshwara temple, Gangaikondacholapuram, Tamil Nadu

Image result for Saraswati images
Sarasvati, Painting, Raja Ravi Varma. 19th century

A look at some interesting museums from around the world -- Saumya Sharma

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Most of us instantly link the word “museum” with a place you visit only on educational excursions from school and soon after let it pass as a once-in-a-lifetime type memory, locked in a treasure chest somewhere.

Museums, the ultimate storehouses of knowledge, have a long history of being associated with highfalutin culture and intellectual snobbery. Most of us instantly link the word “museum” with a place you visit only on educational excursions from school and soon after let it pass as a once-in-a-lifetime type memory, locked in a treasure chest somewhere.
Early museums began as the private collections belonging to wealthy individuals or families that often contained rare artefacts or artworks that would then be displayed to the public in what may be termed as ‘wonder’ rooms in their homes. One of the oldest-known museums is Ennigaldi-Nanna’s museum, built by Princess Ennigaldi at the end of the Neo-Babylonian Empire, dating back to circa 530 BCE. This museum contained artefacts from earlier Mesopotamian civilizations.
The English term “museum” originates from the Ancient Greek Μουσεῖον (Mouseion), which stands for a place or temple dedicated to the Muses (the patron divinities in Greek mythology of the arts; colloquially meaning the inspiration behind a work of art). The purpose of modern museums is to collect, preserve, and display objects of artistic, cultural, or scientific significance to educate the public.
Even though the idea of museums conjure up a mental image of centuries-old items decorating stuffy galleries, of people maintaining peace probably unbeknownst to them outside the boundaries of the museum building and repeating to yourself that any room you enter might remind you of being the bull in the China shop that everyone must be wary of. However, not all museums are meant to be the vintage-looking, monuments of history and heritage that you can barely ever enjoy at in your real element. A parallel school of thought has always believed that learning is always better with fun in tow. From exhibits celebrating some of our all-time favourite food items, pets, sex, UFOs, dolls and even toilets, there’s something for everyone if you set out to look at the right places.
If you’re travelling within India, you can explore a doll museum in Himachal Pradesh’s Dharamshala called Losel Doll Museum which boasts of the world’s largest collection of Losel Dolls. Down south, head to the INS Kurusura Submarine Museum in Visakhapatnam, a fish-shaped black submarine, also the first-of-its-kind in Asia.
The Arna Jharna in the blue city, Jodhpur, celebrates the local communities near Jodhpur. Arna Jharna is a tribute to late Komal Kothari, one of India’s leading folklorists and oral historians who was awarded the Padma Bhushan in 2004. This museum also showcases over 160 handmade brooms from different parts of Rajasthan.
Around the world, a curious traveller and art and heritage enthusiast can also head to the Vent Haven Ventriloquist Museum, Mummy Museum, Plastinarium, various dogs and cat museums (The American Kennel Club and a cat museum in Japan, a dog collar museum in England, to name a few), Houses of Goa Museum - one dedicated to the heritage homes built during the Portuguese reign in Goa which speaks of the state’s rich history and heritage, some now preserved through painstaking efforts, and also Kimchi Museum, dedicated to the humble Kimchi in Oriental cuisine.
Read on to know about more interesting museums around the world, divided category-wise, even though it’s definitely possible for one person to have their interests piqued by all categories:
Museum for the literature-lover:
* Roald Dahl Museum: One of the greatest storytellers for children (and adults) of the 20th century, his short stories rank among the world’s best and have the capacity to warm a cold heart. The Roald Dahl museum offers visitors a glimpse into the man and method behind some of the best-loved stories of the 20th century, including ‘Charlie and the Chocolate Factory’, ‘Matilda’, ‘The BFG’ and ‘James and the Giant Peach’. 
* Shakespeare’s Birthplace: A restored 16th-century half-timbered house in Stratford-upon-Avon, Warwickshire, England, where it is believed that William Shakespeare was born in 1564 and spent his childhood years. This popular visitor attraction has been referred to as “a mecca for all lovers of literature”.
* Franz Kafka Museum: This dark, immersive gallery displays Franz Kafka’s personal belongings, such as journal entries and photographs, set in “Kafkaesque” settings, giving a glimpse into the brilliant author’s mind. Don’t miss the famous pissing statue in the front courtyard of the museum.
For the Art-lover:
There is no dearth of a wonderland for the art-lover. From the iconic British Museum to Metropolitan Museum of Modern Art (MoMA), Getty Museum, Met Museum and many more, there’s an abundance of history and heritage waiting to be consumed at these centuries-old traditions of preserving human history, so to speak. But did you know there also exists a Museum of Bad Art? The Museum of Bad Art located in Massachusetts, USA aims “to celebrate the labour of artists whose work would be displayed and appreciated in no other forum”. You know how they say, no talent is ever wasted!
For the Food-lover:
From a museum dedicated to Food and Drink (the museum of food and drink), to the legendary Big Mac to their permanent accompaniment, fries, there are museums dedicated to coffee, tea, chocolate, ice cream, cup noodles and so much more! Read on:
The Big Mac Museum: Celebrating its glorious history since circa 1967 and its birthplace, literally, in the Pittsburgh area, the Big Mac Museum has a Big Mac history wall, vintage McDonald’s packages, wrappers, toys, and kids meals, all for the nostalgia effect.
The Frietmuseum: Frietmuseum in Bruges is the only museum dedicated to potato fries. From the history of potatoes, to where the fry came from and the secret recipe of a portion of tasty fries, the museum holds answers to every potato fry-related question.
Museum of Bread Culture: Located in Ulm, Germany, this museum was founded by two entrepreneurs who worked in the bakery industry before opening their exhibition in 1960. Visitors can look out for fascinating displays of baking tools, admire bread-related art and learn about bread’s importance as a food item.
The Museu De La Xocolata: The Chocolate Museum is located in a historic building with a pre-existing relationship with chocolate. According to the official site, “in the eighteenth century the Bourbon army was a big fan of this product, and according to ordinances, chocolate was present in the menus of the military academies of that century: “For breakfast of each cadet and company officer will be given an ounce and a half of chocolate with a quart of bread ...”, and when the troops were garrisoned in the barracks it was also usually taken chocolate. The body of halberds, the personal guard of the monarch, was called, with envy, “the chocolateros”, since to the being a pampered and elite body, it took much chocolate.” A visit to the chocolate museum consists of a tour of the origins of chocolate, its arrival in Europe, and more.
Momofuku Ando Instant Ramen Museum: The cup noodles museum or Momofuku Ando Instant Ramen Museum delivers a message to the visitors on the importance of inventiveness and discovery by introducing the history of instant noodles, which is a food culture in its own right. In 1958, Momofuku Ando invented the world’s first instant noodles, the “Chicken Ramen,” after year of research using common tools in a shed he had built in his backyard.
Ice cream Museum: Let your imagination run wild in a world (of ice creams) where anything is possible. Here you’ll find imaginative, multi-sensory installations that bring delightful dreams like: Taste exclusive scoops at our new Perfectly Pink Ice Cream Parlor, play dress-up in fashionista Diva-Nilla’s closet, reflect in the Infinity Mirror Room, and of course, make a splash in our iconic Sprinkle Pool - to life.
Avni, a working mom and media professional from Mumbai visited the Ice Cream Museum last winter. She shares her experience saying, “It’s an amazing space that can be enjoyed by both adults & kids alike. Each room is uniquely designed, with little activities or ice cream tastings along the way. There are also plenty of photo opportunities to keep as family memorabilia. The most fun for us was learning an easy choreography and dancing to it to get more ice cream! As a family of three it was our first performance!”

Museum of Pizza: The Museum of Pizza is dedicated to all things cheese and sauce, but there’s more to it than meets the tongue, literally. Located on Brooklyn’s William Vale hotel, the museum is an expansive, one-floor space that houses a wide variety of art, from giant photographs to sculptures to large installations that engulf visitors. An instantly recognizable attribute of the space is the bright colours that are weaved throughout the exhibits - perfect for taking social media-ready pictures.
Fashion and beauty enthusiasts:
“Fashions fade, style is eternal.” — Yves Saint Laurent
From a museum dedicated to Christian Dior’s work to the Museum of Fine Arts and Lace (Musée des Beaux-Arts et de la Dentelle), located in France; to Victoria and Albert Museum, London where one can everything from Indian textiles, obscure musical instruments, and painful footwear; to Toronto’s Bata Shoe Museum, which traces the cultural history of footwear; to fashion historian Doris Langley Moore’s personal collection of men’s and women’s clothes at the Fashion Museum, in Bath (erstwhile Costume Museum) and many more museums dedicated to the history and legacy of fashion, every fashion and design aficionado is in for a treat at these knowledge banks of style and trends.
Makeup Museum: Due to open its doors to the public soon, The Makeup Museum celebrates makeup and its glorious history. The museum began its first exhibition online on Instagram “Pink Jungle: 1950s Makeup in America” by unveiling exclusive interviews and other vignettes including a skincare prescription by Erno Laszlo for actor Marilyn Monroe.
From the kohl-lined eyes of Egyptian Pharoahs, to the rich imagery found in the royal, Indian figurative art, and further to the beginnings of the modern beauty industry - the history of makeup will soon take on the shape of a whole museum.

The Moda Goa Museum & Research Centre: India’s first costume history museum will be housed in a 450-year-old traditional Goan villa named the Casa Dona Maria in Colvale, Goa. Documenting Goan costumes and costumes from Konkan coast, design and lifestyle through the generations, the Moda Goa Museum preserves indigenous cultural heritage through a collection of 800+ artefacts from the 7th century AD till present date. The items of historical and cultural relevance include statues, objects, furniture, photographs, jewellery & accessories.
In a conversation with Mr Jerome Marrel, we sought more information about India’s first costume history museum due to open in December 2020. He says,”There will be a lot to learn about the history of Goa and by extension the Konkan coast from Gujarat to Kerala. However it will be a research centre for scholars and students with access to a large library as well as the collection itself of more than 840 artefacts. Access for students and their teachers will be free of charge as Moda Goa Foundation is a charitable trust.”
We also wanted to know if there will be special focus on designer Wendell Rodricks’ efforts towards conserving textiles and reviving the lost treasures? Mr Marrel throws light on these details saying, “Gallery 7 is the only Pan India exhibition with all the sarees of India, various types of Khadi and projections on textiles of the country. Gallery 13 will display the revival of the Kunbi saree by Wendell.” The museum consists of a total of 15 galleries, with a library coming up in Phase 2 of the Moda Goa Museum.
Love and other adventures:
The Museum of Broken Relationships: The brainchild of two star-crossed Croatian lovers, Olinka Vištica and Dražen Grubišić, The Museum of Broken Relationships in Croatia, contains everyday objects donated by anonymous people. The museum exhibits over 4,000 objects including an axe used to chop up an ex-boyfriend’s furniture; a letter written by a 13-year-old boy fleeing Sarajevo; and a jar of “love incense,” with a label reading: “doesn’t work.”
The objects range from comic to dark, are probably mundane but their stories are windows giving a peek into the souls of strangers.

Icelandic Phallological Museum: The Icelandic Phallological Museum is a one-of-its-kind museum in the world that contains a collection of phallic specimens belonging to various types of mammals found in a single country. Phallology is an ancient science which, until recently, received little attention in Iceland, except in history, art, psychology, literature and other artistic fields like music and ballet.
Museum of Sex: The Museum of Sex opened with the intent of preserving the history, evolution, and cultural significance of human sexuality. New York Magazine has described a visit to the museum akin to “a Willy Wonka sex dream,” where you can treat your inner kid-adult to the outlandish Bouncy Castle of Breasts or admire vintage erotic photography. The museum hosts both temporary exhibitions and a permanent collection of over 15,000 artifacts, works of art, photography, costumes, and historical memorabilia.
https://www.hindustantimes.com/art-and-culture/international-museum-day-2020-where-does-the-term-museum-come-from-a-look-at-some-interesting-museums-from-around-the-world/story-dFMxkE8VSxadQz1T6dhuQO.html

Indus Script Corpora has documented the contributions of Meluhha artisan and merchant guilds of Sarasvati-Sindhu Civilization

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https://tinyurl.com/y9ugs9v5

This conclusion is validated by the following article of Lorenz Rahmstorf:

Lorenz Rahmstorf, 2012, Control Mechanisms in Mesopotamia, the Indus Valley, the Aegean and Central Europe, c. 2600–2000 BC, and the Question of Social Power in Early Complex Societies in: Tobias L. Kienlin & Andreas Zimmermann, 2012, Beyond Elites, Bonn, Verlag Dr Rudolf Habelt GmbH, pp. 311 to 326
https://www.academia.edu/1865301/Control_mechanisms_in_Mesopotamia_the_Indus_Valley_the_Aegean_and_Central_Europe_c._2600-2000_BC_and_the_question_of_social_power_in_early_complex_societies?fbclid=IwAR3l24aA-LlYXDt_-TC1mfJvzLUa-5lvvn04gI4yW0ZeghH_gze7PTUWsYM

So-called control mechanisms as a basis of social power shall be compared in four societies in Europe and Asia which were in coexistence during the middle and later 3rd millennium BC. While in some cases (southern Mesopotamia) we have good indications for social power operating largely from above, such notions cannot easily be adduced from the archaeological record in other regions (Indus Valley, Aegean), in which there were possibly many different levels on which social power was exercised on an everyday basis. Finally, in the fourth region (Bell Beaker Central Europe) it is hard to recognise not only clear signs of social power, but also any possible basis for distinctions in social power. It will be argued that the establishment of control mechanisms was fundamental to achieve institutionalized and long-term inequality in the societies discussed in this article. The adoption of such control mechanisms enabled a group of people (the elite) to regulate and hence dominate resources. Some of the best archaeological indications are writing, the practice of sealing and the invention and standardisation of metrological systems. The open question is how many members of the given society were able to participate in the regulation of power. The archaeological indications often do not imply a strongly hierarchical society, or a society where a single person (king or chief) and/or his clique could dominate. Instead the archaeological record points to flexible and fluctuating power relations. Therefore, it is argued that some early complex societies of the second half of the 3rd millennium BC (like Greece or the Indus Valley) can be better described as heterarchical than hierarchical. For prehistoric Europe it is argued that social power was highly fluid and that no long-term systematization of power relations is traceable before the Iron Age (and even then it is often debatable). Therefore, any claim for the existence of simple or complex chiefdoms in prehistoric Europe (outside the Aegean) during the Copper and Bronze Age seems to be misleading.























Ancient Indian Economy Part III – Guilds in Ancient Bharata

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Sneha Nagarkar 

Sneha Nagarkar

Sneha Nagarkar is currently working as an Assistant Professor of Archaeology at the Centre for Extra-Mural Studies, University of Mumbai. Her fields of specialization are Ancient and Medieval Vaisnavism, , Mathura and the Vraja region, Ancient Indian Art and Architecture, Ancient Indian Religious, Political and Economic Histories. She has presented papers in state, national and international level conferences. She also conducts heritage walks in Mumbai and Vrindavana. She is also associated with Pancajanya Cultural Heritage Initiatives which is a cultural heritage education forum.guilds in ancient indiaIntroduction
Today we live in a world where the whole global economy is dominated by multinational companies and complex corporate organisations. However, are we aware that corporate bodies have a hoary history in India? These corporate groups of merchants and artisans following a common profession have played a very active role in the economic set up of ancient India. The whole manufacturing sector and trade networks were controlled by these guilds.  In English they are known as mercantile guilds and the Sanskrit and Pālī equivalents of this term are śreṇī, nigama, gaṇa, saṁgha and vrāta. Apart from economic functions, these guilds were also involved in making acts of charity to religious institutions like Buddhist Monasteries.
Understanding the meaning of the term Śreṇī
The word śreṇī is met with in the Ṛg Veda but it is used to mean a line or a sequence but in the Vedic corpus it is also used to denote the life ways of a group. In Paṇini’s Aṣṭādhāyī the word śreṇi denotes a guild. Pāṇini refers to commercial guilds as saṁsthāna and a merchant who was a member of such a guild was known as a saṁsthānika. The Itihāsas  Rāmāyaṇa and Mahābhārata use the word ‘śreṇī’ to mean a guild. Certain commentators speak about a śreṇī as a group of people following the same occupation without any allusion to the caste of its members. On the other hand, some correlate a sreṇī with caste. Considering the different references to śreṇis the general meaning of this term was an economic organisation of people pursuing a common profession.
Reasons for the rise of guilds
  1. Investing money collectively for production purposes has been a very old practice in India. People who practised the same profession arranged themselves into guilds and this also gave them an upper edge at the ruler’s court. Also the merchants would go on very long and hazardous journeys where there was a high possibility of a mishap or an attack by bandits or even wild animals. Travelling as a guild gave the merchants more safety.
  2. The formation of guilds could also be an outcome of the varṇa vyavasthā. People following a common occupation were grouped in one varṇa. Out of this vocation based division of society, several sub-groups of people engaged in similar kind of work may have organised themselves into guilds
  3. Craft production was generally restricted to a specific locality and generally all craftsmen who were involved in it would reside in that particular area. This concentration of craftsmen in a single locality helped the junior ones to learn the craft with more ease. This also helped in guilds securing their own identity on the basis of their craft and locality.
  4. As the professions in India became more or less hereditary by the later Vedic age, the elder members of the family passed on their know-how about their craft to the younger members. This created a high number of craftsmen in the same family. It is possible that the members of a family with expertise in a particular craft or trade could have formed guilds for more smooth operation of their businesses.
  5. The urbanisation in the Gaṅgā Valley around the 7th- 6th centuries BCE was the consequence of surplus production. Since food was now easily available in comparison to earlier times, at least some people in the society could take up manufacturing and trading of goods as full-time occupations. The use of iron helped the growth of crops as well as manufacturing of better-quality goods. The rise of cities further accentuated handicraft industries and trade and the craftsmen and traders organised themselves into guilds for more efficient manufacturing and exchange of goods.
  6. Formation of the sixteen Mahājanapadas in the 6th century BCE helped in better political and economic stability. Trade routes which cut across the states emerged which helped in connecting cites and market towns across the Indian subcontinent. Traders now became aware about the sources of raw material as well as the kind of products which were in demand in local as well as distant markets. This increase in demand for better goods necessitated highly skilled craftsmen which could be provided by the guilds.
Historical Evolution of Guilds
Origin of Guilds
The origin of guilds in Ancient India is a little difficult to determine. Given the technical and economic advancement of the Sindhu-Sarasvatī Civilisation (SSC), there must have been some organisation of merchants and craftsmen. Craft specialisation like the manufacture of a wide variety of beads, pottery, bricks, seals and tools must have been possible only with some kind of formal economic system.  The numerous seals discovered at the SSC sites belonged to merchants or their organisations. However, in the absence of substantial evidence, nothing can be said conclusively about guilds in the SSC. There are differing views about the existence of guilds in the Vedic period. However, K K Thaplyal states that in the later Vedic period, there may have been some kind of guild organisation. In the Ṛg Veda the Paṇis are mentioned who were a class of traders through we are not certain whether they were organised into guilds. There is a reference to guilds in the Bṛhadāraṇyaka Upaniṣad which gods who belonged to the Vaiṣya gaṇasaḥ and which meant that the Vaiṣyas earned their living through corporate activities. We must understand that the literature of the later Vedic period carries ample references to specialised crafts like an iron smelling, jewellery making and pottery and we may assume that people involved in these wide variety of crafts were organised into groups or guilds.
Guilds from 600 BCE to the Mauryan Age (320 BCE)
The 6th century BCE is a landmark in Indian history. It was the time when the Gaṅga plain experienced its first urbanisation and unprecedented levels of economic, political and religious transformations. At that time there were sixteen independent kingdoms or Mahājanapadas which have been listed in Buddhist and Jaina literature. It was also the age when two new religious thoughts arose- Buddhism and Jainism which greatly encouraged trade and commerce and had a large following from the mercantile community. Trade was regarded a high profession (ukkattha karma) in Buddhism. Two well known śreṣṭhins of that period were Anāthapiṇḍaka and Ghoṣita who constructed monasteries for the Buddha at Śrāvasti and Kauśāmbī respectively. The Gautama Dharmasūtra (5th century BCE) has the first clear reference to guilds. It states that farmers, merchants, cattle herders, moneylenders, and artisans are empowered to decide legal matters concerning members of their respective groups. (Gaut. Dhr.Sut. 10.21). Apparently, these guilds also had state recognition. The Jātaka Tales mention eighteen different kinds of guilds, craft industries and the principle of heredity introduced in vocations. The organisation of craftsmen into guilds also contributed towards craft specialisation. As per the ten markers of urbanisation given by archaeologist V.G. Gordon Childe, crafts specialisation was one of them and in the Indian context too, urbanisation and crafts specialisation were closely inter linked. The Jātaka tales and other Buddhist works mention sreṣṭhins or the heads of guilds repeatedly. Many of these head craftsmen or traders were ardent followers of the Buddha and made generous donations to the Buddhist Saṅgha.
Guilds from 320 BCE-200 BCE
This period coincides with the rise, climax and downfall of the Mauryan Empire. Trade and commerce were largely controlled by the Mauryan State and so were other economic activities like agriculture. The Mauryan state also regulated the natural resources which were used as raw materials in the production of goods. Accounts were to be maintained about the management of raw materials, the growth of factories as well as the traditional norms of the saṅghas or guilds and government regulations on them (A.S.2.7.2).  From the Arthaśāstra we can understand that there were guilds of labourers which provided the work force (A.S. 3.14.12). All members of the guilds had to equally divide the earnings amongst themselves and the amount of the share was pre-determined (A.S.3.14.18). The Arthaśāstra also recommends that areas near the fortification of the city which are not inhabited should be given to guilds and foreign traders (A.S. 2.14.16). Guilds also gave loans to individual merchants. K K Thaplyal is of the opinion that because of the expansion of the Mauryan Empire many Gaṇasaṅghas lost their independence and some of them may have may have resorted to other occupations to earn their living. The Arthaśāstra has references to Kṣatriya śreṇīs of Kāmbhoja and Surāṣtra practising agriculture and trade. The system of guilds had become was well established and formalised by the Mauryan period.
Guilds from 200 BCE – 300 CE
This period corresponds with the rule of dynasties like the Suṅgas, Indo-Greeks, Śakas, Kuṣāṇas and Sātavāhanas over the Indian subcontinent. This was also the time when India had strong trade relations with the Roman Empire and the Indian Economy greatly benefited from this trade. Compared to the Mauryan period, guilds began to enjoy more autonomy and power. Their numbers also increased and this is reflected in the reference to as many as twenty four guilds in the Buddhist text called Mahāvastu. Inscriptions from Buddhist sites like Bhārhut, Sāñcī, Bodh Gayā and Mathurā as well as the Buddhist Caves from the Deccan have numerous references to donations being made by people belonging to different vocational groups. These include farmers, potters, garland makers, jewellers, traders and caravan leaders or sārthavahas. There is a reference at Sāñci to a donation made by a guild of ivory makers. Many of these individuals might have been members of guilds. Guilds of flour makers, oil pressers, weavers, potters and bankers also find mention in contemporary inscriptions. The large flow of donations indicates the high level of prosperity which the Indian Economy had reached. In other words, guilds were also engaged in several charitable works and people would even invest money with the guilds, the interest of which was used for food, clothes and medicines for the Buddhist monks. In all probability guilds also started issuing their own coins in this period. The rise of mercantile and craftsmen’s guilds is reflected in the Dharmaśāstra texts like the Manu and Yājñavalkya Smṛtis which are roughly dated to the same period.
Guilds from 300 CE to 600 CE
This period of almost three centuries witnessed the rule of the Imperial Guptas in northern India apart from a number of small and large states in other parts of India. Though the trade with Rome slackened, there was a significant rise in the volume of trade with South East Asian countries. This was also the time when we see a further growth of craft specialisation. The sculptures and teracottas of this period are fine examples of a very high level of artistic expression. The same can be said about the coins of the Guptas as well. Literature of the Gupta period indicates an expansion of the activities of guilds. The banking functions of guilds also increased and they continued to direct their patronage towards temples and monasteries. The law books of this period have details about the functions and constitutions of guilds. Guilds have been also referred to in Kālidāsa’s Raghuvaṁśa and Varāha Mihira’s Bṛhat Saṃhitā.  The Vasudevahiṃḍī, which is a Jaina text also contains references to guilds. The guild system helped the merchants and artisans earn good profits in trade and business. There is a reference in the Vasudevahiṃḍī, to a saṅgha or guild of carpenters and the king accomplising his work through them. A guild of goldsmiths is also mentioned. Guilds also had a lot of influence on the king and the members of the nigama were a part of the jury while trying cases involving traders. The head of śreṇī or nigama i.e. the śreṣṭhin was considered equal in power with the king’s ministers. Guilds which provided garlands, betel-nuts and wines to the royal household had close links with the palace. Epigraphs of the Gupta period also refer to guilds of oil pressers and silk weavers. The seals discovered at Vaiśālī have the terms śreṣṭhin and nigama which could suggest some guild activity.
Concluding Remarks
We studied the evolution of guilds from the earliest times till the dawn of the 7th century CE. Guilds began to gradually decline from the post Gupta and specially from early medieval period onward. Nevertheless, they contributed immensely towards the flourishing Ancient Indian Economy. Trade in ancient India could prosper mainly because of these guilds. The economic functions of guilds with special emphasis on their bank like and charitable duties would be dealt in the next article.
References
  1. Jamkhedkar, A.P. Vasudevahimdi: A Cultural Study. New Delhi: Agam Kala Prakashan, 1984.
  2. Kangle R.P (Trans.), Kautiliya Arthashastra, Mumbai: Maharashtra Rajya Sahitya Sanskruti Mandal, 2011(Reprint)
  3. Maity S.K., Economic Life of Northern India in the Gupta Period. Calcutta: The World Press Private Limited, 1957.
  4. Majumdar, R.C. Corporate Life in Ancient India. Poona: The Oriental Book Agency, 1922.
  5. Nagarkar, Sneha ‘Corporate Religious Responsibility in Early Historic India’ in aWEshkar, Volume XIV, Issue 2, September 2012, pp.41-51.
  6. Olville, Patrick (Trans.) Dharmasutras: The Law Codes of Ancient India. Oxford and New York: Oxford University Press, 1999.
  7. Thaplyal, K.K. Guilds in Ancient India. New Delhi: New Age International Limited, 1996.
https://www.indictoday.com/long-reads/ancient-indian-economy-part-iii-guilds-in-ancient-bharata/

Ancient Indian Economy Part II – Kṛṣiḥ (Agriculture) in Ancient India

Sneha Nagarkar 
Agriculture
This is the second article in Sneha Nagarkar’s series on the economy of Ancient India. Read the first part on Vārttā(Commerce) in Ancient India.
Agriculture was among the three important sources of livelihood or Vārtta along with animal husbandry and trade. Man has been practising agriculture at least for the last 10,000 years. There are various legends in India which tell us about the origin of agriculture. The most popular is that of King Pṛthu Vainya who milked the earth who had taken the form of a cow which led to ploughing and the production of grains. This legend is found in numerous texts like the Harivaṁśa as well as the works of Kālidāsa. Pṛthvi or the earth goddess has been invoked in certain sūktas of the Ṛg Veda and she symbolised fecundity and abundance. In the Atharva Veda she is considered to be the primordial mother and all of mankind is her progeny. Other names of the earth like Vasudhā and Vasundharā associate with her the quality of giving resources for subsistence to man which include food grains. The whole history of mankind changed dramatically after man took to agriculture. It paved the way for a settled life and the concept of territorial affinity emerged which led ultimately to the formation of states with definite geographical areas. This article takes a historical overview of agriculture in Ancient India.
Historical Overview of Ancient Indian Agriculture
Agriculture commenced in South Asia almost 10,000 years ago and sites like Mehrgarh (now in Pakistan) and Lahuradeva in Uttar Pradesh were some of the earliest sites which produced evidence of agriculture. Remains of wheat and barley were found at Mehrgarh and Lahuradeva gave proof of rice cultivation. Agriculture continued to flourish and prepare the strong and stable backbone for the rise of urbanisation in the valleys of the rivers Sarasvatī and Indus (Sindhu) around 2600 BCE. A field with preserved furrow marks was discovered at the Early Harappan levels at the site of Kalibangan in Rajasthan. Kalibangan lies on the bank of the river Sarasvatī and was one of the premiere urban settlements of the Sindhu-Sarasvaṭī Civilisation. The Mature Phase of this civilisation (2600-2000 BCE) proved beneficial for agriculture as well as the climatic conditions were very favourable. There were two kinds of crops- those which were grown during the rainy season and those which were cultivated in the winter season. Wheat, barley, green peas, mustard, millet, sesame and cotton were some of the noteworthy crops. Wells were commonly used and were built of stone or baked bricks. Manure was also in use. Agriculture was carried out with the help of oxen.
In the Vedic age, there were four categories of land-vāstu, arable land, pastures and forests. There are a few sūktas in the Ṛg Veda which pray for a good harvest on the agricultural land. Ploughing a field i.e. agriculture enjoyed the status of a noble profession and was said to bring happiness. Yava or barley was the most important crop and delicacies like apūpa were made with barley and offered to the gods. Fried barley was called dhāna. Small quantities of wheat and sugarcane were also grown by the Vedic people. To facilitate agriculture through irrigation, canals and wells were dug . Sūkta 25 in the tenth maṇḍala of the Ṛg Veda which is addressed to Soma has a reference to wells:
Our songs in concert go to thee as streams of water to the wells. (R.V. 10.25.4)
The plough and the ploughshare were objects of veneration in the Ṛg Vedic times. A sūkta in the fourth maṇḍala of the Ṛg Veda is addressed to a deity called Kṣetrapati who is supposed to be the guardian of the field. Indra, Puṣaṇa and Sītā, the goddess of the furrows have also been invoked to make the harvest sweet and for the furrowing to proceed smoothly (R.V. 4.57). Agriculture was an important and widely practised occupation of the Vedic period. The plough was regularly used and was called lāṅgala and sira. All agricultural processes like sowing the seeds in the furrow, cutting of the corn or grains with a sickle (called datva),laying it in bundles (parsa) on the threshing floor and sifting it with the winnowing fan (surpa) have been mentioned in the Ṛg Veda.
Moving to the later Vedic period, the plough had become a very heavy equipment as, as many as twenty-four oxen were required to pull it. Irrigation and manure were used to improve the agricultural produce. Barley, wheat, sesame and numerous other grains were grown. The Bṛhadāraṇyaka Upaniṣad lists ten kinds of grains which include rice, barley, sesame, pulses, wheat and beans etc. (Das 1925: 51)
The Śukla Yajur Veda and the Taittirīya Saṃhitā also provide details about various crops. Two seasons of harvest were prevalent. The Rāmāyaṇa also contains a few details about agriculture. In the Ayodhyā Kāṇḍa, Rāma inquires with Bharata whether he was paying proper attention to the farmers. Ayodhyā was supposed to have many cultivators as her citizens (Das 1925: 51). There are also a few references to agricultural fields and irrigation in the Mahābhārata. These references indicate that arable lands were located at some distance from the settlements. By the time we come to the 6th century BCE, agriculture was very well developed. The arable lands or khetta lay a little outside the gāma or rural settlement. Individual plots of land were demarcated with digging of canals for watering fields. The landholdings were generally small enough to be managed by an individual or his immediate family though the Jātakas refer to extensive landholdings and hundreds of ploughs being used to plough the land. This period also coincides with the age of the Sūtras and the tone of the Sūtras seems to favour a rural life style with agriculture as its backbone rather than living in urban areas. Many rituals and invocations are prescribed for various agrarian processes like ploughing and reaping the harvest. The Buddhist texts also speak about privately owned groves or vanas just outside the city limits which were offered to the Buddha and his disciples as resting places. The Buddha, who belonged to the gaṇa sangha of the Śākyas is said to have helped his father Śuddhodhana in farming. Śuddhodhana was a part of the Sākya oligarchy and owned land which he himself cultivated.
As we move ahead to the Mauryan Age (4th century BCE- 2nd century BCE), the Arthaśāstra of Kauṭilya is the most detailed source to know about details regarding agriculture. The village was in the form of a cluster of houses and the arable and pasture lands would be outside the village. Most of the cultivated lands were rice fields. The king was the owner of all the land. It was he who gave land for cultivation to others and these lands could be confiscated if they were not put to proper use. Various kinds of grains like rice, barley, wheat, pulses, sugarcane and oil seeds were among the prime agricultural products. For the majority of the population, agriculture was the main occupation. Megasthenes, the Greek ambassador who visited Candragupta Maurya’s court is all praise for the fertile plains of northern India and the wide variety of crops which were grown. The writings of Megasthenes also provide evidence for the irrigation facilities made available by the Mauryan government for benefit of the cultivators. Further, Candragupta Maurya was also responsible for constructing a lake called Sudarśana near Junagadh in Gujarat. This lake was repaired later by Aśoka, Rudradaman- the Kṣatrapa king and Skandagupta during their respective regimes. The Arthaśastra has prescribed that the king should initiate the expansion of agriculture by helping people to settle in new areas and providing them with loans for cattle, grains and money. Agricultural implements were made out of wood and iron and iron sickles have been reported from the Mauryan levels in the excavations at Atranjikhera. Two rounds of crops- one in the monsoon and the other in autumn were sown and harvested. Rice, wheat, barley, millets and pulses were the major crops. Sugarcane was also produced and both sugar and jaggery were manufactured from it.
We lack definite information about agriculture during the Śunga period which was the immediate successor of the Mauryan Age. The next stage which is marked by the rule of the Kuṣāṇas (1st century CE-3rd century CE) in north India and the Sātavāhanas (1st century BCE-3rd century CE) in the Deccan and southern India brought unprecedented prosperity to India. In the territory of the Sātavāhanas, there were three kinds of agricultural lands: lands owned by the state, lands under the ownership of landholders as well as lands possessed by individual farmers. The state had no right to arbitrarily confiscate privately owned lands. The numerous inscriptions of this period testify the grant of agricultural fields made to Buddhist monasteries by the state. Land donations greatly increased during this stage. There is a high probability that the monasteries themselves cultivated these fields. The crops cultivated included rice, wheat, millets, pulses, sugar cane and cotton. The Gāthāsattasai, a Prākṛt anthology compiled by the Sātavāhana king Hāla speaks about two kinds of ploughs- smaller wooden ploughs called hāla and large, heavy metal ploughs known as nāṅgala. The ploughs were pulled by oxen. As a part of irrigation, wells were in common use. People were encouraged to clear forests and bring more land under cultivation. Agriculture was almost fully dependent on the monsoon and there was always a fear of draught and floods. Both these natural calamities would adversely affect agriculture.
The Guptas followed the Kuṣāṇas as rulers in northern India and the Sātavāhanas were succeeded by the Vākātakas in the Deccan in the second half of the 3rd century CE. Agriculture retained its position as the most important occupation of the people. Kālidāsa considered agriculture and animal husbandry as important sources adding to the national wealth (Maity 1957: 71). Manure was used for a better produce and the irrigation facilities like tanks, canals and wells were provided to support agriculture. These helped in bringing even dry lands under cultivation. The state supported people who took the initiative in expanding agriculture and constructing tanks and reservoirs by giving them concessions in land revenue. Hardly any land was left to remain fallow. The Dharmaśāstra texts of this period enlist stringent punishments for people who stole grains and agricultural implements (Ibid: 73). There were also concessions given to the producer if his grains were destroyed by cattle though generally fields were protected by fences.
Varāhamihira in his Bṛhat Saṃhitā has given predictions about rainfall through meteorological calculations. Going by the evidence in the Bṛhat Saṃhitā, agriculture in the Gupta period was fairly advanced. Fields were separated from each other by clear boundaries in the form of raised platforms of the soil or fences with thorns. This text describes various agricultural processes like ploughing, sowing, harvesting and piling of the grain on the threshing floor for threshing and pounding. The crops were then stored in a granary. Generally two crops were taken in a year and the farmers were familiar with crop rotation. Crops sown during the rainy season were called pūrvasasya and those sown in autumn were called parasasya (Shastri 1969: 262). Rice, wheat and barley were the principal crops. Varāhamihira has also provided the botanical classification of crops viz. śūkadhānya (awned or bearded grains), kośadhānya (legumes or those which grown in pods) and śamī jātī (pulses).
The end of the Gupta and Vākātaka rules by the mid 6th century CE paved the way for many dynasties like the Puṣyabhutis, Maukhāris, Cālukyas and Pallavas to come to power. The wide majority practised agriculture and in norther India Kaśmīra, Kauśāmbī and Magadha produced high quality of rice. Kāśmīra, like today produced the best saffron. Other agricultural products included cereals, mustard, ginger, melons and pumpkins. Onion and garlic were grown on a very limited scale. Various kinds of fruits were also grown which have been mentioned by Xuan Zang. He was a Chinese pilgrim who visited India in the first half of the 7th century CE during the reign of Harṣavardhana.
A Brief Note on the Kṛṣiḥ Pārāśaraḥ
The Kṛṣiḥ Pārāśaraḥ is an ancient text on agriculture. It is attributed to Rṣi Parāśara and is divided into three sections. In its first section which is like an introduction to the text, the author speaks about the significance of kṛṣiḥ or agriculture. It is because of agriculture that nobody becomes a yācaka and any person practising kṛṣiḥ can be a master of the land (K.P. 1. 3). A person may be very wealthy, with gold ornaments adorning his ears, neck and hands but he has to depend on the farmer for his food. In the absence of food even a well to do man will have to starve. The text considers agriculture to be the most useful vocation and instructs all to give up other professions and practice agriculture with putting in great effort (K.P. 1.7).
Prosperity was linked to agriculture and a field which was taken good care of by the owner produced gold i.e. a good harvest (K.P. 3.1). A farmer who works for the betterment cattle, the one who regularly visits his agricultural lands, knows the measuring of time, who takes care of the seeds and the one who is hardworking gets a good produce in his fields and is always happy and contended (K.P. 3.5) . The text has elaborate details regarding the cattle care and it emphasises treating cattle, specially those that were yoked to a plough, in appropriate manner. If these animals are treated well, the harvest will be bountiful. We are also told about the different components of a plough (hala sāmagrī) (K.P. 3.34) and the auspicious days on which the land should be ploughed (K.P. 3.44). The plough must be used after invoking Indra, Śukra, Pṛthu, Rāma and Parāśara and offering worship to Agni, Brāhmaṇas and other gods. Indra or Vāsava was the first deity invoked as he is the rain giver and the harvest was almost totally dependent on the rainfall. The blessings of the earth (Vasudhā) who provides all the resources were also sought as without the earth, there would be no agriculture. The text also carries details about the time of collecting seeds, places where they should be and should not be stored and the kind of grains which should be sown. There are also strict injunctions about the process of sowing seeds and taking care of them once they are sown. Rituals are prescribed in this case as well and the earth (Vasundharā) is invoked as the seed will germinate in her and grow from her. All these rituals and regulations were prescribed to ensure a good harvest as that would provide food for everyone.
Conclusion
The overview indicates that agriculture has been most enduring foundation for Indian economy. Fertility and fecundity are given pre-eminence in almost all Indian rituals. The earth was venerated and right from the Ṛg Veda, special prayers were addressed to various deities for a good harvest. Prayers and rituals were also prescribed as a mark of gratitude to Pṛthvi and other natural phenomenon when there would be abundant produce. A good produce was a symbol of good fortune and prosperity. The king was required to take measures which would help in the growth of agriculture.
References
1. Das, S.K., The Economic History of Ancient India. Howrah: S.K. Das, 1925.
2. Dhavalikar, M.K., Bharatachi Kulakatha. Pune: Rajhansa Prakashan, 2017.
3. Kangle R.P (Trans.), Kautiliya Arthashastra. Mumbai: Maharashtra Rajya Sahitya Sanskruti Mandal, 2011(Reprint)
4. Maity, S.K., Economic Life of Northern India in the Gupta Period. Calcutta: The World Press Private Limited, 1957.
5. Mirashi V. V, The History and Inscriptions of the Satavahanas and Western Kshatrapas. Bombay: Maharashtra State Board for Literature and Culture, 1981.
6. Morvanchikar, R.S., Satavahanakalin Maharashtra. Pune: Aparanta, 2017 (Third Revised Edition).
7. Pandeya, Ramachandra (Ed. and Trans.), Krsih Parashara. New Delhi: MLBD, 2002
8. Shastri, Ajay Mitra, India as seen in the Brhatsamhita of Varahamihira. New Delhi: MLBD, 1969.
9. Vaidya, P.L. (Ed.) Harivamsa, Volume I. Pune: Bhandarkar Oriental Research Institute, 1969.
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Ancient Indian Economy Part I – Vārttā in Ancient India

Sneha Naharkar April 13,2020
Introduction
Man has devised his subsistence patterns since the dawn of human history. Stone Age or Prehistoric man was a hunter gather and moved in groups from one region to another in search of food and shelter. The last stage of the Stone Age which is also known as the Neolithic Age or the New Stone Age witnessed two path breaking developments in the history of mankind- man began to practice agriculture and domesticate animals like cattle, sheep, goat etc. Cultivation of crops made man settle at one place and this gave rise to small settlements which, in the course of time transformed into villages or janapadas and some of these rural settlements expanded to become cities or nagaras and nigamas or market towns. As agriculture advanced it gave rise to surplus grains which led to the emergence of trade and commerce. Thus agriculture, animal husbandry and trade are the three fundamental vocations which supported most ancient and medieval pre-industrial economies. Ancient India too was not an exception to this and in fact, philosophers and intellectuals of ancient India rightly accorded a lot of significance to these three and they together constituted what came to be known as Vārttā. The term Vārttā has been derived from the term Vṛtti and implies livelihood and the branch of knowledge needed to earn one’s living. Vārttā has been practised in India since the Sindhu-Sarasvatī Civilisation and the Vaidika texts have copious references to agriculture and animal husbandry as well as a few to trade also. By the beginning of the Mauryan Age (4th century BCE) Vārttā was recognised as a branch of knowledge and most Indic texts consider Vārtta to be one of the foremost responsibilities of a king and make it obligatory for him to provide his subjects with the same. Vārtṭā came to be associated with the puruṣārtha of Artha and the Manu Smṛti in fact states that all the three puruṣārthas of Dharma, Artha and Kāma do good to human existence (Man Smṛ 2.224) . The present article takes an overview of the evolution Vārttā as a core concept of Ancient Indian Economy through the study of select texts starting with Kauṭilya’s Arthśāstra.
Vārttā in Kauṭilya’s Arthśāstra
Vārttā refers to livelihood and the science or vidyā to procure your livelihood and this concept of Vārttā therefore occupies a preeminent place in ancient Indian Economic Thought. Vārttā has been accorded the status of vidyā or a systematic knowledge system along with Ānvīkṣikī, Trayī and Daṇḍanīti. These four have been called vidyās by Kautilya in his Arthaśāstra (Arth 1.2.1). Further, in the opinion of Kauṭilya these four vidyās help a man to understand dharma and artha (Arth 1.2.8). The Arthaśāstra clearly states that the term Ānvīkṣikī includes the darśanas of Sāṁkhya, Yoga and Lokāyata (Arth 1.2.10). This vidyā has an interrelationship with the rest of the three vidyās and is like a lamp that helps us understand better the other vidyās and is the refuge of all dharmas. The Trayī refers to the study of the three Vedas i.e. Ṛg, Yajur and Sāma and the fourth Veda – the Atharvaveda has been mentioned separately by Kauṭilya in his Arthaśāśtra along with Itihāsa Veda. (Arth 1.3.2) According to Kautilya, all these constitute the Veda. The term vārttā according to Kauṭilya implies the occupations agriculture, animal husbandry and trade: Kṛṣīpāśupālye Vāṇijyā Ca Vārttā (Arth 1.4.1)
Since this vidyā helps an individual to avail of grain, animals (mainly cattle), money, forest produce and labour force this vidyā is very beneficial. The Vārtta Vidyā helps a king to control, with the help of his treasury and army, his own as well as his enemy’s subjects. The last vidyā is called Daṇḍanīti which helps in ingraining and practising the aforementioned vidyās (Arth 1.4.3). Kauṭilya strongly feels that a king who uses Daṇḍanīti in an optimum manner is indeed eligible for respect (Arth 1.4.10).
Vārttā in the Kāmandakīya Nītisāra
Some scholars consider this text as a summary of the Arthasāstra. The date of this work is believed to be before the 7th century CE. (Shastri 1912 : v) Vārttā has been mentioned in the second sarga of the text as a branch of learning along with Ānvikṣikī, Trayī and Daṇḍanīti. The text states that the king, after controlling his senses should concentrate on ensuring the development of these vidyās, seeking help from those well versed in them (Kām Nit 2. 1). Next the text makes it clear that only these four are the eternal branches of learning (Kām Nit 2.2) and equates Vārttā with the branch of knowledge that concerns itself with the gain and loss of wealth (Kām Nit 2.7). Like the Arthaśāstra, this text too includes animal husbandry, agriculture and trade in the definition of Vārttā (2.14) and considers these three to be the means of livelihood for the Vaiṣyas (Kām Nit. 2.20).The text also describes the interconnections of the varṇa vyavasthā and the four vidyās.
Vārttā in the Rāmāyaṇa
The subject of Vārttā in the Rāmāyaṇa has been dealt in Lord Rāmā’s advice to Bharata in the hundredth sarga of the Ayodhyākāṇḍa. Lord Rāma expects Bharata, as the administrator of the state to be aware of the three vidyās namely the three Vedas, Vārttā and Daṇḍanīti (Rām 2.100.68). He asks Bharata whether the Brāhmaṇas, Kṣatriyas and Vaiṣyas are absorbed in their respective duties (Rām 2.100.40). Lord Rāma is shown to fully understand the importance of Vaiṣyas in the running of the state and the economy and wants to ensure that Bharata loves the Vaiṣyas whose source of Vārttā is agriculture and animal husbandry. He specially inquires about the welfare of the Vaiṣyas whose Vārttā is sourced from trade, agriculture and cattle breeding (Rām 2.100.47). From the instances noted above it is clear that the ruler had to make sure that all his subjects had a source of living and specially those who are engaged in agriculture, animal husbandry and trade are not neglected as these vocations form the basis of the economy.
Vārttā in the Mahābhārata
The Rājadharmānuśāsana Parvan which is a part of the Śāntī Parvan of the Mahābhārata presents the counsel of Bhīṣma to Yudhiṣṭhira on Rājadharma or duties of a king. Among many other things, the Bhīṣma speaks about the necessity of adequate artha or dhana which a king ought to posses. Bhīṣma says that leading a life based on mere subsistence is the dharma of sages but the dharma of king is complete with the right amount of wealth owned by the king (Mbh XII.8.12) . He further adds that all kinds of good tasks emanate from accumulated wealth (Mbh XII.8.16). According to Bhīṣma’s advice, the source of dharma and kāma is artha and without artha attainment of heaven and leading life on earth are both not possible (Mbh XII.8.17):
Arthād Dharmaśca Kāmaśca Svargaścaiva Narādhīpa |
Prāṇayātrāpi Lokasya Vina Hyartham Na Sidhyati ||
Moreover not just dharma, kāma and svarga but listening to the śastras, anger, growth of happiness and victory over your adversaries can be achieved through artha only (Mbh XII.8.21). Artha was also closely linked to the performance of Vaidika yajñas and Bhīṣma tells Yudhiṣṭhira that engaging in svādhyāya of the Vedas, earning wealth and performing yajñas were the essential duties of a king as prescribed by the śāstras (Mbh XII.8.27). Offering dakṣiṇā, after a yajña, specially after a grand one like Aśvamedha was obligatory on the part of the yajamāna and this could be only done if he had enough wealth at hand. Procuring dhana was one of the prime tasks of a king and this he did by defeating other kings and seizing their wealth. For kings, war was their source of Vārttā. From Bhīṣma’s long discourse we can understand that poverty was something totally undesirable and human existence itself was meaningless if one no wealth or paucity of the same.
The Mahābhārata in the sixtieth adhyāya of the Śāntī Parvan describes the respective duties of the four varṇas. The dharma of a Vaiṣya includes giving dāna, studying the Vedas and Śāstras, performing yajñas and earning wealth while maintaining his purity (Mbh XII.60.21) . The Vaiṣyas were to engage in agriculture, animal husbandry and trade. Among these three occupations, the Mahābhārata considers animal husbandry to be only the Vaiṣyas’ vocation and they had to look after cattle like a father taking care of his children (Mbh XII.60.22).The text states that Prajāpati himself has delegated the care of cattle to Vaiṣyas and it further describes how a Vaiṣya could get his livelihood or vṛtti from this vocation.
In the eighteenth adhyāya of the Śrīmad Bhagavad Gītā, Lord Kṛṣṇa elucidates the duties of each of the four varṇas. Though the word Vārttā are not used they are implied when the Lord says that agriculture, protecting cows and trade and commerce are the duties of the Vaiṣyas which are born out of their own nature (B.G. XVIII.42) :
Kṛṣigourakṣyavāṇijyam Vaiṣykarma Svabhāvajam |
Vārttā in the Harivaṁśa
The Harivaṁśa is the khila or appendix text to the Mahābhārata. The date of the composition of this text generally fixed between the 1st- 3rd centuries CE. This text is primarily concerned with the life history of Lord Kṛṣṇa and the lineage of the Vṛṣṇis to which he belonged. This text is divided into three parts, namely the Harivaṁśa Parvan, Viṣṇu Parvan and the Bhaviṣya Parvan. In the fifth adhyāya of the text which is a part of the Harivaṁśa Parvan, there is a legend about Emperor Pṛthu Vainya. After he was consecrated as the emperor, all natural phenomena worked in his favour and because of this he became very dear to his people. The sages told Pṛthus’s subjects that he will provide them with Vārttā or livelihood. The people appealed to Pṛthu to grant them livelihood. To fulfill their wish Pṛthu pursued the earth who had taken the form of a cow. The earth told him to find a calf for her and milk her for grains and other riches. As per her request Pṛthu also leveled her and the text tells us that once Pṛthu accomplished this task, towns and villages emerged and so did grains, cow-herding, ploughing and trade routes. Therefore Pṛthu has been called the primordial giver of livelihood: Sanātanaḥ Vṛttidaḥ (H.V. 1.6.43). This legend clearly indicates that the king was responsible to ensure that his subjects had the proper means of livelihood.
In the same text in adhyāya fifty nine of the Viṣṇu Parvan, there is a mention of the term Vārttā when Lord Kṛṣṇa explains to the gopas of Vraja about their pastoral subsistence. Lord Kṛṣṇa speaks about agriculture, cattle herding and trade being the three main vocations of people and cattle herding being the chief occupation of the gopas (H.V. 2.59.21).
Vārttā in the Purāṇas
The Bhāgavata Purāṇa briefly touches the subject of Vārttā when Sage Nārada explains the Mokṣa Dharma for householders to Yudhiṣṭhira. He mentions agriculture and trade as two forms of Vārttā which cannot endow a man with the attainment of Bhagavat (Bhāg Pur 7.15.29). Lord Kṛṣṇa, as in the Harivaṁśa speaks to his father Nanda and the other gopas in the Bhāgavata Purāṇa about Vārttā and he says that Vārttā is of four kinds: agriculture, trade, taking care of cattle and money lending (kuśida). Among these, the gopas practice cattle protection (Bhāg Pur 10. 24.21). Here we find money lending being added to the categories of Vārttā as it may have been a widely practised occupation in the early medieval period when the Bhāgavata Purāṇa was being compiled. The Devi Bhāgavata Purāṇa adds karmānta or craftsmanship to the list of professions coming under the concept of Vārttā (Personal Communication: Dr. Prachi Moghe).
Vārttā in the Dharmaśāstra Texts
The Manu Smṛti discusses the duties of a king at length in its seventh adhyāya and states that a king must be trained in the four vidyās- Ānvikṣikī, Trayi, Daṇḍanīti and Vārttā which have no temporal limits from those who are knowledgeable in them. He should learn the Vārttā from the people. (Man Smṛ 7.43) The Yājñavalkya Smṛti refers to Vārttā in the opening ślokas of the Rājadharmaprakaranam i.e. the section elucidating the duties of a king. Among other virtues, the king should be well versed in the four vidyās i.e. Ānvikṣikī, Daṇḍnīti, Vārttā and Trayī (Yāj Smṛ 13.311).
Concluding Remarks
From the above overview we understand that most major Indic texts have in some way or another incorporated the concept of Vārttā. The Indic tradition has always sought a balance between the mundane and transcendental realms. The ancient Indian intellectuals had completely ascertained the role Vārttā would play in the life of individuals and its ramifications on the economy. The king was assigned the charge to see to it that his subjects had a proper source of livelihood which would help them attain the puruṣārtha of Artha and give stability and prosperity to the society. Though our tradition favoured an austere life way, it never glorified poverty. The vidyā of Vārttā practised through Dharma ensured the material well being of not only individuals but also made sure that the economy flourished.
(Note: The author is immensely grateful to her teacher and senior colleague Dr. Prachi Moghe, Assistant Professor for Archaeology, Centre for Archaeology, Centre for Extra Mural Studies, University of Mumbai for her guidance.)
References
1. Brodbeck, Simon (Trans.), Krishna’s Lineage: The Harivamsha of Vyasa’s Mahabharata. New Delhi: Oxford University Press, 2019.
2. Desai V.G. (Ed.) and Thavare P.K (Trans.), Srimad Bhagavata Mahapuranam, Volumes I and II, Gorakhpur: Gita Press, V.S. 2072.
3. Dutt, M.N. (Trans.), Kamandakiya Nitisara, Calcutta: H.C. Dass, 1896.
4. Kangle R.P (Trans.), Kautilya Arthashastra, Mumbai: Maharashtra Rajya Sahitya Sanskruti Mandal, 2011(Reprint)
5. Pandeya, Ramnarayanadatta, Shastri (Trans.) Mahabharata, Volume V. Gorakhpur: Gita Press, V.S. 2072
6. Ray, Gangasagar (Ed. and Trans.), Yajnavalkyasmrtih, New Delhi: Chowkhamba Sanskrit Pratishthan, (Publication date not given)
7. Shastri Ganapati, T (ed.), Kamandakiya Nitisarah. Published by the Maharaja of Travancore through the Government Press, 1912.
8. Shastri, Rakesh (Ed and Trans.), Manusmrtih. Delhi: Vidyanidhi Prakashan, 2017
9. Shrimad Valmiki Ramayana, Part I, Gorakhpur: Gita Press, 2017 (12th Reprint)
10. Swami, Swarupananda (Trans.), Srimad Bhagavad Gita. Kolkata: Advaita Ashram, 2013.
11. Vaidya, P.L (ed.) Harivaṁśa, Volume I, Poona: Bhandarkar Oriental Research Institute, 1969.

‘We could open up again and forget the whole thing’ -- Epidemiologist Knut Wittkowski

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Epidemiologist Knut Wittkowski on the deadly consequences of lockdown.

SPIKED

‘We could open up again and forget the whole thing’

Governments around the world say they are following ‘The Science’ with their draconian measures to stem the spread of the virus. But the science around Covid-19 is bitterly contested. Many experts have serious doubts about the effectiveness of the measures, and argue that our outsized fears of Covid-19 are not justified. Knut Wittkowski is one such expert who has long argued for a change of course. For 20 years, Wittkowski was the head of Biostatistics, Epidemiology, and Research Design at The Rockefeller University’s Center for Clinical and Translational Science. spiked spoke to him to find out more about the pandemic.
spiked: Is Covid-19 dangerous?
Knut Wittkowski: No, unless you have age-related severe comorbidities. So if you are in a nursing home because you cannot live by yourself anymore, then getting infected is dangerous.
We had the other extreme in Switzerland, which was hit pretty hard. There was one child that died. People believed that this child was born in 2011. In fact, it was born in 1911, and that was the only child that died. It was a mere coding error. Somebody with the age 108 was coded as aged eight.
spiked: How far along is the epidemic?
Wittkowski: It is over in China. It is over in South Korea. It is substantially down in most of Europe and down a bit everywhere, even in the UK. The UK and Belarus are latecomers, so you do not see exactly what you are seeing in continental Europe. But everywhere in Europe, the number of cases is substantially declining.
spiked: Have our interventions made much of an impact?
Wittkowski: When the whole thing started, there was one reason given for the lockdown and that was to prevent hospitals from becoming overloaded. There is no indication that hospitals could ever have become overloaded, irrespective of what we did. So we could open up again, and forget the whole thing.
I hope the intervention did not have too much of an impact because it most likely made the situation worse. The intervention was to ‘flatten the curve’. That means that there would be the same number of cases but spread out over a longer period of time, because otherwise the hospitals would not have enough capacity.
Now, as we know, children and young adults do not end up in hospitals. It is only those who are both elderly and have comorbidities that do. Therefore you have to protect the elderly and the nursing homes. The ideal approach would be to simply shut the door of the nursing homes and keep the personnel and the elderly locked in for a certain amount of time, and pay the staff overtime to stay there for 24 hours per day.
How long can you do that for? For three weeks, that is possible. For 18 months, it is not. The flattening of the curve, the prolongation of the epidemic, makes it more difficult to protect the elderly, who are at risk. More of the elderly people become infected, and we have more deaths.
spiked: What are the dangers of lockdown?
Wittkowski: Firstly, we have the direct consequences: suicides, domestic violence and other social consequences leading to death. And then we have people who are too scared to go to the hospitals for other problems like strokes or heart attacks. So people stay away from hospitals because of the Covid fear. And then they die.
spiked: Were hospitals likely to be overrun?
Wittkowski: Germany had 8,000 deaths in a population of 85million. They had 20,000 to 30,000 hospitalisations. In Germany, that is nothing. It does not even show up as a blip in the hospital statistics. In Britain, the highest hospital utilisation was about 60 per cent, if I am not mistaken.
In New York City, it was a bit higher. The Javits Congress Center was turned into a field hospital with 3,000 beds. It treated just 1,000 patients in all. The Navy ship sent to New York by President Trump had 179 patients but it was sent back because it was not needed. New York is the epicenter of the epidemic in the United States, and even here at the epicenter, hospital utilisation was only up a bit. Nothing dramatic. Nothing out of the ordinary. That is what happens during the flu season. People have the flu, and then there are more patients in the hospitals than there otherwise would be.
spiked: Are we on the way to reaching herd immunity?
Wittkowski: All the studies that have been done have shown that we already have at least 25 per cent of the population who are immune. That gives us a nice cushion. If 25 per cent of the population are already immune, we are very quickly getting to the 50 per cent that we need to have what is called herd immunity. We will actually get a bit higher than that. So we have flattened what otherwise would have been a peak, and if we now let it run, even if the number of cases would increase a bit, it would not get as high as it was, because we already have enough immune people in the population. So it is not going to spread as fast as it could have spread in the beginning.
spiked: Should we worry about a second spike?
Wittkowski: This is an invention to justify a policy that politicians are afraid of reversing.
spiked: Should people practice social distancing?
Wittkowski: No.
spiked: Why not?
Wittkowski: Why? What is the justification for that? People need to ask the government for an explanation. The government is restricting freedom. You do not have to ask me for justification. There is no justification. It is the government that has to justify what it is doing. Sorry, but that is how it is.
spiked: How did we get this so wrong?
Wittkowski: Governments did not have an open discussion, including economists, biologists and epidemiologists, to hear different voices. In Britain, it was the voice of one person – Neil Ferguson – who has a history of coming up with projections that are a bit odd. The government did not convene a meeting with people who have different ideas, different projections, to discuss his projection. If it had done that, it could have seen where the fundamental flaw was in the so-called models used by Neil Ferguson. His paper was published eventually, in medRxiv. The assumption was that one per cent of all people who became infected would die. There is no justification anywhere for that.
Let us say the epidemic runs with a basic reproduction rate of around two. Eventually 80 per cent of the population will be immune, because they have been infected at some point in time. Eighty per cent of the British population would be something like 50million. One per cent of them dying is 500,000. That is where Ferguson’s number came from.
But we knew from the very beginning that neither in Wuhan nor in South Korea did one per cent of all people infected die. South Korea has 60million people. It is about the same size as the UK. How many deaths were in South Korea? Did they shut down? No. The South Korean government was extremely proud to have resisted pressure to drop the very basic concepts of democracy.
The epidemic in South Korea was over by March, the number of cases was down by 13 March. In Wuhan they also did not shut down the economy. Wuhan had restricted travel out of the city. They stopped train services and blocked the roads. They did not restrict anything social within the city until very late. We have seen, then, in Wuhan and South Korea, if you do not do anything, the epidemic is over in three weeks.
Knowing that the epidemic would be over in three weeks, and the number of people dying would be minor, just like a normal flu, the governments started shutting down in mid-March. Why? Because somebody pulled it out of his head that one per cent of all infected would die. One could argue that maybe one per cent of all cases would die. But one per cent of all people infected does not make any sense. And we had that evidence by mid-March.
spiked: Just to clarify, cases are different from people infected?
Wittkowski: Cases means people who have symptoms that are serious enough for them to go to a hospital or get treated. Most people have no symptoms at all. But waking up with a sore throat one day is not a case. A case means that someone showed up in a hospital.
spiked: The UK government was also heavily influenced by the situation in Italy. Why did that go so wrong?
Wittkowski: What we saw in Italy was that the virus was hitting those who were both old and had comorbidities, so lots of people died. But the median age of those who died in Italy was around 81 years. It is not that children or working people were dying. It was the elderly in nursing homes – not even the elderly living by themselves mostly. We saw lots of deaths and that scared people. But then, Italy did an illogical thing. It closed schools so that the schoolchildren were isolated and did not get infected and did not become immune. Instead, the virus spread almost exclusively among the old, causing more deaths and a higher utilisation of hospitals. And that is mind-boggling.
Very early on, we knew from China and we knew from South Korea that this is an epidemic that runs its course, and there was nothing special about it. But when it hit Italy, we stopped thinking about it as an age-stratified problem, and instead lumped everyone all together. The idea that if we did not shut down the schools the hospitals would have been overwhelmed does not make any sense. I frankly still cannot fully understand how our governments can be so stupid.
spiked: Governments say they are following the science. Is that really true?
Wittkowski: They have the scientists on their side that depend on government funding. One scientist in Germany just got $500million from the government, because he always says what the government wants to hear.
Scientists are in a very strange situation. They now depend on government funding, which is a trend that has developed over the past 40 years. Before that, when you were a professor at a university, you had your salary and you had your freedom. Now, the university gives you a desk and access to the library. And then you have to ask for government money and write grant applications. If you are known to criticise the government, what does that do to your chance of getting funded? It creates a huge conflict of interest. The people who are speaking out in Germany and Switzerland are all independent of government money because they are retired.
spiked: Did the Swedish scientists get it right?
Wittkowski: Sweden did the right thing. And they had to take a lot of heat for it. Now compare Sweden and the UK. The only difference is that Sweden did fine. They did have a problem. They had a relatively high number of deaths among the nursing homes.They decided to keep society open and they forgot to close nursing homes. Remarkably, the politicians acknowledged that it was a mistake to extend that open concept to nursing homes. The nursing homes should have been isolated to protect the elderly who are at high risk. But I think the Swedish government is doing well to even acknowledge that mistake.
The first death in the United States was in a nursing home in Seattle. And that was by the end of February. So everybody knew that we were expecting the same thing that we had seen in Italy – an epidemic that hits the elderly. But until just this week in New York State, the government told the nursing homes that if they did not take in patients from hospitals, they would lose their funding. So they would have to import the virus from the hospitals.
One third of all deaths in New York State were in nursing homes. One could have prevented 20,000 deaths in the United States by just isolating the nursing homes. After three or four weeks, they could have reopened and everybody would be happy.
That would have been a reasonable strategy. But shutting down schools, driving the economy against the wall – there was no reason for it. The only reason that this nonsense now goes on and on, and people are inventing things like this ‘second wave’, which is going to force us to change society and never live again, is that the politicians are afraid of admitting an error.
spiked: Is this easier to see in hindsight?
Wittkowski: What I am talking about is not hindsight. The epidemics in Wuhan and South Korea were over in mid-March. In March, I submitted a paper to medRxiv, summarising all of that. At least towards the end of March, the data was there, and everybody who wanted to learn from it could.
On 17 April, Robert Redfield, director of the Centers for Disease Control and Prevention, presented data at the coronavirus presidential briefing at the White House. And there was one plot that he presented. And I looked at it and asked why people were not jumping to their feet. Why were people not understanding what they were looking at? The plot was the data from the ILINet. For 15 years, hospitals have counted every person who shows up with an influenza-like illness – fever, coughing, whatever. There were three spikes in the 2019-2020 flu season. The first was in late December – influenza B. The next was in late January – an influenza A epidemic. And then there was one that had a peak in hospital visits around 8 March – Covid-19. For the peak to happen on that day, those patients have to go through a seven-day incubation period and then have symptoms. But they do not go to the hospital with the first symptoms. If it gets worse over three days, only then do they go to a hospital.
Four weeks later, on 8 April, the number of new infections was already down. In time for Easter, our governments should have acknowledged they were overly cautious. People would have accepted that. Two weeks’ shutdown would not have been the end of the world. We would not have what we have now – 30million people unemployed in the United States, for example. Companies do not go bankrupt over a two-week period. Two months is a very different story. If you have to pay rent for two months for a restaurant in New York with no income, you will go bankrupt. We see unemployment, we see bankruptcies, we see a lot of money wasted for economic-rescue packages – trillions of dollars in the United States. We see more deaths and illness than we would otherwise have had.
And it is going on and on and on, just because governments are afraid of admitting an error. They are trying to find excuses. They say they have to do things slowly, and that they have ‘avoided 500,000 deaths’ in the UK. But that was an absurd number that had no justification. The person presenting it pretended it was based on a model. It was not a model. It was the number of one per cent of all people infected dying. And nobody was questioning it. And that is the basic problem.
spiked: People will say that the interventions in South Korea – like contact tracing – were more effective.
Wittkowski: How many orders of magnitude, take us from 500,000 to 256, the number of deaths in South Korea? To have that kind of effect you would have to put everybody in the UK into a negative pressure room. It is totally unrealistic to even consider a reduction from 500,000 to 256.
Knut Wittkowski was talking to Fraser Myers.

Ram Takht - The Throne of Lord Rama in Swat Vally, Pakistan

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RAM TAKHT -
(The Throne of Lord Rama in Swat Vally, Pakistan).
The beautiful mesmerizing valley of Swat in the Khaiber Pukhtoonkhwa Province of Pakistan is home to the most holy sacred hindu place of worship called Ram Takht - the throne of Lord Rama. For Hindus its sanctity and importance next only to Amarnath. It is situated on mount Elum at an altitude of 9200 feet from the sea level . This point is called Jogiano Sar in the local Pashto language meaning peak of jogis i.e hermits. Ram Takht can be reached via Barikot -Buner road or from Marghuzar near Saidu Shareef, the capitalvof Swat.
It is believed that during his 14 years of exile (van vas) Shree Ram Chandra Ji, accompnied by wife Mata Sita and brother Laxman, visited this place and spent sufficient time of exile here (according to some thinkers upto 3 years). Before partition in 1947 a very large number of devotees used to visit there for pilgrimage and to attend the annual functions particulaarly on Ram Navmi. Even today this function is arranged by the local limited Hindu and Sikh population. (A picture of the recent functions is being placed).
At the top of mount Elum there is a large flat rock which is believed to be the (samadhisthala) called Takht and where Ram Chandra ji would do his meditations. Some hundred steps downwards on the backside of the peak in a somewhat large plain area there is a gorge type dry well which is revered as the Rasoi of Sita ji. Considering the geographic positions and density of forest it seems logic. Nearby a holy spring flows where Jogis/ Yogis came to bath.
Near Mount Elum there is another mountain range called Dwa Sarey ( Mount Double Peak). On top of Dwa Sarey there is a natural pond of 4×4×4 feet. It is knowm as Ram Kund. The nearby cowherds and shefferds use it for their cattles but it is said that the level of water remains at the same level. N o body knows where from the pond gets its regular supply of water.
The ruins at Jogiano Sar clearly shows that it was an active hub of religious activities in the past where yogis resided in monasteries with austerity to meditate and contemplate on the nature and its Creator. The vagaries of time have taken its toll and destroyed the places of worship and monasteries. Some of the rulers of Swat have also been blamed for it. But it must be mentioned that the Wali of Swat was very soft and considerate towards Hindu / Sikhs. He had personal relations with them and hence the relationship between micro Hindu / Sikhs population with the local Muslim majority have always been very peaceful and coordial.
Ram Takht has also been damaged /demolished by treasure hunters in the hope to acquire ancient treasures.

seṭṭha, śrēṣṭhin khār 'foreman of a guild' authenticates metalwork of artisan guilds in Meluhha Indus Script

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https://tinyurl.com/y7bapoe5

The authentication by seṭṭha, śrēṣṭhin 'foreman of a guild' is the last signature hieroglyph on line 3, which is hieroglyph of a squirrel.
The squirrel hieroglyph is šē̃ṣṭrĭ̄ khārʻ flying squirrel ʼ?(CDIAL 12723) Rebus: śrḗṣṭhaʻ 'guild master'. khār 'blacksmith'
This tablet m0304 is evidence for a guild of artisans and seafaring merchants.

m-314A Mohenjodaro tablet with inscription on 3 lines.

Top line

Middle line



Bottom line
Text 1400 m0314
m0314 (17 signs, 3 lines) This seal details the functions of śrḗṣṭha 'guild-master': moltencast copper, unsmelted metal alloy, metal alloy mint, metal alloy implements, carpenter tools, furnace ingots (for) smithy/forge, supercargo (scribe, account), smithy/forge ingots, gold-braid, laterite ferrite ore, mint, bronze smithy/forge. śrḗṣṭha 'guild-master'.
Line 1:
Spoked wheel is an Indus Script hieroglyph. See: 

 https://tinyurl.com/y2jq5okl

 

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). 

eraka 'knave of wheel' rebus: erako 'moltencast, copper' arA 'spokes' rebus: Ara 'brass' PLUS sal 'splinter' rebus: sal 'workshop'Line 1: 
LID hieroglyph: *ḍhakk ʻ cover ʼ. 2. *ḍhaṅk -- . [Cf. ḍhakkana -- n. ʻ shutting ʼ Śīl.]1. Pk. ḍhakkaï ʻ shuts ʼ; S. ḍhakaṇu ʻ to cover ʼ; L. ḍhakkaṇ ʻ to imprison ʼ; P. ḍhakkṇā ʻ to cover ʼ, Ku. ḍhakṇo, N. ḍhāknu, A. ḍhākiba, B. ḍhākā, Bhoj. ḍhākal, OMarw. ḍhakaï; -- Pk. ḍhakkiṇī -- f. ʻ lid ʼ, S. ḍhakkaṇī f., P. ḍhakṇā m., ˚ṇī f., WPah. bhad. ḍhakkaṇ n., Ku. ḍhākaṇ, N. ḍhakni, A. ḍhākni, B. ḍhākanḍhāknā˚ni; Bi. ḍhaknā ʻ cover of grain -- pot ʼ, Mth. ḍhākni; Bhoj. ḍhaknī ʻ lid ʼ. -- Poss. K. ḍākürü f. ʻ wide shallow basket ʼ; N. ḍhāki ʻ basket ʼ, ḍhākar ʻ a kind of large basket ʼ; Bi. mag. ḍhākā ʻ large open basket ʼ; -- P. ḍhakkā m. ʻ pass between two hills ʼ.
2. Pk. ḍhaṁkissaï ʻ will cover ʼ; Kho. (Lor.) ḍaṅgeik ʻ to cover, shut, bury ʼ; Phal. ḍhaṅg -- ʻ to bury ʼ; Or. ḍhaṅkibā ʻ to cover ʼ, H. ḍhã̄knā, Marw. ḍhã̄kṇo, G. ḍhã̄kvũ, M. ḍhã̄kṇẽ; -- Pk. ḍhaṁkaṇa -- n., ˚ṇī -- f. ʻ cover, lid ʼ, Or. ḍhāṅkuṇi, H. ḍhãknī f., G. ḍhã̄kṇũ n., ˚ṇī f., M. ḍhã̄kaṇ n., ḍhã̄kṇī f.Addenda: *ḍhakk -- 1: S.kcch. ḍhakṇū ʻ to cover, shut (a door) ʼ, WPah.kṭg. (kc.) ḍhàkṇõ, Garh. ḍhakṇu; A. ḍhākiba (phonet. dh -- ) ʻ to cover ʼ, G. ḍhākvũ, M. ḍhākṇẽ. (CDIAL 5574) Rebus: Blazing,bright: *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.*dhaṅga -- ʻ defective ʼ see *ḍagga -- 2.Addenda: *dhagg -- : Ko. dhaggu ʻ heat ʼ, dhagdhagu ʻ blazing heat ʼ.(CDIAL 6704)

ayo 'fish' rebus: aya 'iron' ayas 'metal alloy' PLUS khambhaṛā 'fish-fin' (Lahnda CDIAL 13640) Ta. kampaṭṭam, kammaTa 'mint, coiner, coinage'ayo 'fish' rebus: aya 'iron' ayas 'metal alloy' PLUS  खााडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon)(Marathi). Rebus: kāṇḍa 'tools, pots and pans and metalware' (Marathi)kaṇḍa 'arrow' Rebus: kāṇḍa 'tools, pots and pans and metalware' (Marathi) Line 2:

Hieroglyph: adze: Phal. tērc̣hi ʻ adze ʼ (with "intrusive" r). ... clip, peel ʼ; Bhoj. cã̄chal ʻ to smoothe with an adze ʼ; H. cã̄chnā ʻ to scrape up’ Rebus: takṣa in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ VarBr̥S. PLUS sal 'spinter' rebus: sal 'workshop' PLUS gaṇḍa 'four' rebus:  kāṇḍa 'tools, pots and pans and metalware'. Thus, together, the hypertext reads: takṣa sal kāṇḍa 'carpenter workshop implements'.muka ‘ladle’ mũhe ‘ingot’ (Santali) PLUS baṭa ‘rimless pot’ Rebus: Rebus: baṭa ‘iron’ (Gujarati) bhaṭa ‘furnace’ baṭa = kiln (Santali).dula 'pair' rebus: dul 'metal casting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, metal casting forge.kanka, karṇaka 'rim of jar' rebus: karṇi 'supercargo, scribe, account'Line 3:kolom 'three' rebus: kolimi 'smithy, forge'mū̃he 'ingot' (Santali). PLUA*gōṭṭa ʻ something round ʼ. [Cf. guḍá -- 1. -- In sense ʻ fruit, kernel ʼ cert. ← Drav., cf. Tam. koṭṭai ʻ nut, kernel ʼ, Kan. goṟaṭe &c. listed DED 1722]K. goṭh f., dat. °ṭi f. ʻ chequer or chess or dice board ʼ; S. g̠oṭu m. ʻ large ball of tobacco ready for hookah ʼ, °ṭī f. ʻ small do. ʼ; P. goṭ f. ʻ spool on which gold or silver wire is wound, piece on a chequer board ʼ; N. goṭo ʻ piece ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece ʼ, °ṭā ʻ globular, solid ʼ, guṭi ʻ small ball, seed, kernel ʼ; B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ whole, undivided ʼ, goṭi ʻ small ball, cocoon ʼ, goṭāli ʻ small round piece of chalk ʼ; Bi. goṭā ʻ seed ʼ; Mth. goṭa ʻ numerative particle ʼ; H. goṭ f. ʻ piece (at chess &c.) ʼ; G. goṭ m. ʻ cloud of smoke ʼ, °ṭɔ m. ʻ kernel of coconut, nosegay ʼ, °ṭī f. ʻ lump of silver, clot of blood ʼ, °ṭilɔ m. ʻ hard ball of cloth ʼ; M. goṭā m. ʻ roundish stone ʼ, °ṭī f. ʻ a marble ʼ, goṭuḷā ʻ spherical ʼ; Si. guṭiya ʻ lump, ball ʼ; -- prob. also P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ.Addenda: *gōṭṭa -- : also Ko. gōṭu ʻ silver or gold braid ʼ.(CDIAL 4271)Rebus 1: gota (laterite, ferrite ore) Rebus 2: goṭā 'gold-braid'.Sign 180 Signs 180, 181 have variants. Warp-pegs kor.i = pegs in the ground in two rooms on which the thread is passed back and forth in preparing the warp (S.)Semantic determinant hypertext: Ka. gōṭu border or hem of a garment; fringe, edging, trimming. Tu. gōṭu embroidery, lace. Te. gō̃ṭu an ornamental appendage to the border of a cloth, fringe' Rebus 1: gota (laterite, ferrite ore) Rebus 2: goṭā 'gold-braid'.kamāṭhiyo 'archer' Indus Script copper tablet hieroglyph to signify kammaṭa 'coiner, mint'.a 'coiner, mint'..kolmo 'rice plant' rebus: kolimi 'smithy, forge'.kana, kanac 'corner' Rebus: kañcu = bronze (Telugu)*śrēṣṭrīʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723)Rebus: śrḗṣṭhaʻ 'guild master'. khār 'squirrel' rebus: khār 'blacksmith' śrēṣṭhin khār guild-master of blacksmith artisans and merchantsśrḗṣṭha ʻ most splendid, best ʼ RV. [śrīˊ -- ] Pa. seṭṭha -- ʻ best ʼ, Aś.shah. man. sreṭha -- , gir. sesṭa -- , kāl. seṭha -- , Dhp. śeṭha -- , Pk. seṭṭha -- , siṭṭha -- ; N. seṭh ʻ great, noble, superior ʼ; Or. seṭha ʻ chief, principal ʼ; Si. seṭa, °ṭu ʻ noble, excellent ʼ.śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ]Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ°ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭhśeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh°ṭhīśeṭ°ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭuhi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?)(CDIAL 12725, 12726)

కమ్మర kammara (Telugu) 'ironsmiths', ପୋଦାର୍ Podār (Oriya) assayers of metal, goldsmiths guild document their mint, metalwork repertoire on Indus Script seal m948

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Field symbol: Forward-thrusting, spiny-horned young bull, lathe PLUS portable gold furnace
m948 Text 2250Text 2250

singhin 'forward-thrusting, spiny-horned' (Santali) शृङ्गिन् śṛṅgin a. (-णी f.) [शृङ्गमस्त्यस्य इनि] 1 Horned. -2 Crested, peaked. A bull; शङ्ग्यग्निदंष्ट्र्यसिजलद्विजकण्टकेभ्यः Bhāg.10.8.25
rebus: singi 'ornament gold'  शृङ्गिः śṛṅgiḥ Gold for ornaments. शृङ्गी śṛṅgī 1 Gold used for ornaments (Apte)

खोंड khōṇḍa m A young bull (Marathi) कोंद kōnda ‘young bull' rebus: कोंद kōnda ‘engraver, turner' PLUS kundaṇa pure gold; konda 'furnace, fire-altar' kō̃da कोँद 'furnace for smelting': payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः (Kashmiri) PLUS Rebus: కమ్మటము  Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste. Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)


One-horned young bull hypertext/hyperimage: कोंद kōnda ‘engraver, turner'. kundaṇa pure gold.  कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln'  (Kashmiri) Thus, an iron turner (in smithy/forge).
कोंडण kōṇḍaṇa, 'cattlepen', Mesopotamia Rebus: kundaṇa 'fine gold' Rebus: konda 'lapidary, metalworker, setting gems in find gold jewels'.कोंडण  kōṇḍaṇa f A fold or pen. कोंडवाड kōṇḍavāḍa C (कोंडणें & वाडा) A pen or fold for cattle. कोंडी kōṇḍī ...confined place gen.; a lockup house, a pen, fold, pound Rebus: Fine gold: 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. kundaṇapure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold.(DEDR 1725).
Image result for gold pectoral mohenjodaroSee the dotted circle hieroglyph on the bottom of the sacred device, sangaḍa. The bottom vessel is kamatamu 'portable gold furnace' (Telugu) Rebus: కమటము 'a man of the goldsmith caste'.
See: Itihāsa, Standard device on Indus Script Corpora is सांगड sāṅgaḍa 'joined lathe, portable furnace' rebus: saṁghāṭa 'catamaran' (Rāmāyaṇa), sãghāṛɔ 'lathe' jangadiyo 'military guard'
https://tinyurl.com/y7o7wf9t

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.

కమ్మతము Same as కమతముకమ్మతీడు Sameas కమతకాడు.కమతము 

or కమ్మతము kamatamu. [Tel. n. Partnership. అనేకులు చేరిచేయుసేద్యము. The cultivation which an owner carries on with his own farming stock. Labour, tillage. కృషివ్యవసాయముకమతకాడు or కమతీడు or కమతగాడు a labourer, or slave employed in tillage.  కమ్మతము  Same as కమతముకమ్మతీడు Same as కమతకాడు కమ్మటము  Same as కమటముకమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste.కమ్మరము  kammaramu. [Tel.] n. Smith's work, iron work. కమ్మరవాడుకమ్మరి or కమ్మరీడు kammara-vāḍu. n. An iron-smith or blacksmith. బైటికమ్మరవాడు an itinerant blacksmith.

Image result for gold pectoral mohenjodaro kamatamu 'portable gold furnace' rebus: కమటము 'a man of the goldsmith caste'.

सांगड sāṅgaḍa 'joined lathe, portable furnace' rebus: saṁghāṭa 'catamaran' (Rāmāyaṇa), sãghāṛɔ 'lathe' jangadiyo 'military guard'

कुन्द 'lathe'; is a name of विष्णु, Kubera's treasure. Rebus pictographs Meluhha signifiers of कुन्द lapidary, goldsmith, metalworker setter of gems in gold jewels. Shown with a standard device (lathe, portable furnace) which is sangaḍ, he is also rebus: jangaḍiyo 'guard accompanying treasure into the treasury' (Gujarati). The rebus expression janga signifies a unique method of invoicng on approval basis which is practised even today by jewellers and diamond workers of Gujarat.

Dotted circles:  Hieroglyph  bead: *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. potm. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1.(CDIAL 8403) rebus: Pot 'Purifier priest' (R̥gveda) Semantic determinative) Ta. pōṟṟu (pōṟṟi-) to praise, applaud, worship, protect, cherish, nourish, entertain; n. protection, praise; pōṟṟi praise, applause; pōṟṟimai honour, reverence. Ma. pōṟṟuka to preserve, protect, adore; pōṟṟi nourisher, protector.  (DEDR 4605) போற்றி pōṟṟi , < id. n. 1. Praise, applause, commendation; புகழ்மொழி. (W.) 2.Brahman temple-priest of Malabar; கோயிற் பூசைசெய்யும் மலையாளநாட்டுப் பிராமணன். (W.) 3. See போத்தி, 1.--int. Exclamation of praise; துதிச்சொல்வகை. பொய்தீர் காட்சிப் புரையோய் போற்றி (சிலப். 13, 92).போத்தி pōttin. < போற்றி. 1. Grandfather; பாட்டன். Tinn. 2. Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன்.

Bactria silver vase Indus Script hieroglyphs. Two priests on the left, top register are working with perforated vessels.

Indus Script hypertexts signify Brahman and 7 priests of R̥gveda hotṛ, brāhmaṇācchamsin, maitrāvaruṇa, potṛ, neṣṭṛ, agnīdh and acchāvāka


śrēṣṭhin khār kolimi, lōhakāra kolimi are rebus Meluhha expressions of guild-master smithy, artisan smithy 


-- पोतृ, m. " Purifier " ,= यज्ञस्य शोधयिट्रि

-- pōta pouring, casting in metal (Telugu) 

ପୋଦାର୍ Podār [synonym(s): পোদ্দার पोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେ ରାଜସ୍ବ ଟଙ୍କା ପରୀକ୍ଷା କରେ)— 1। ଟଙ୍କା କୃତ୍ରିମ କି ଭଲ ତାହା ପରୀକ୍ଷା କରିବା ବ୍ୟକ୍ତି— 1. A person who sets coins; poddar. 2। ତହବିଲ୍ଦାର୍ କର୍ମଚାରୀ—2. A cash keeper; cashier. 3। ବଣିଆ; ସ୍ବର୍ଣ୍ଣ ରୌପ୍ଯ ବ୍ୟବସାଯୀ ବଣିକ— 3. Goldsmith; jeweller. 4। ମୁଦ୍ରା ବ୍ୟବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker. ପୋଦ୍ଦାର୍ Poddār [synonym(s): পোদ্দার पोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେ ରାଜସ୍ବ ଟଙ୍କା ପରୀକ୍ଷା କରେ)— 1। ଟଙ୍କା କୃତ୍ରିମ କି ଭଲ ତାହା ପରୀକ୍ଷା କରିବା ବ୍ୟକ୍ତି— 1. A person who sets coins; poddar. 2। ତହବିଲ୍ଦାର୍ କର୍ମଚାରୀ—2. A cash keeper; cashier. 3। ବଣିଆ; ସ୍ବର୍ଣ୍ଣ ରୌପ୍ଯ ବ୍ୟବସାଯୀ ବଣିକ— 3. Goldsmith; jeweller. 4। ମୁଦ୍ରା ବ୍ୟବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker.ପୋଦାରୀ Podārī [synonym(s): পোদ্দারী पोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār. ପୋଦ୍ଦାରୀ Poddārī [synonym(s): পোদ্দারী पोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār.(Oriya) 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. पोतनिशी   pōtaniśī f ( P) The office or business of पोतनीस.   पोतनीस   pōtanīsa m ( P) The treasurer or cash-keeper.   पोतें   pōtēṃ n ( or P) A sack or large bag. 2 The treasury or the treasure-bags of Government. 3 The treasure-bag of a village made up for the district-treasury.पोतेखाद   pōtēkhāda f Wastage or loss on goods (as on sugar &c.) from adhesion to the containing sack or bag.   पोतेचाल   pōtēcāla f (Treasury-currency.) The currency in which the public revenue is received. 2 Used as a Of that currency; as पोतेचालीचा (रूपया-पैसा- नाणें &c.) Coin or money admitted into or issued from the Government-treasury; sterling money of the realm.   पोतेझाडा   pōtējhāḍā m Settlement of the accounts of the treasury.(Marathi)


-- పోత  pōta. [Tel. from పోయు.] n. Pouring, పోయుట. Casting, as of melted metal. Bathing, washing. పోత pōta. adj. Molten, cast in metal. పోతచెంబు a metal bottle or jug, which has been cast not hammered.पोतृ प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि Sa1y. RV. Br. S3rS. Hariv. ; name of विष्णु; पोत्री f. N. of दुर्गा 
(Demetrius Galanos's Lexiko: sanskritikes, anglikes, hellenikes) The imagery of 'pouring' from a pot finds brilliant expression on many artifacts of Ancient Near East. Ta. pey (-v-, -t-) to rain, fall (as dew or hail); pour down or into (tr.), put, place, serve up (as food in a dish), throw out, discharge (as urine), shed (as tears), distribute; peyal showering, rain, raindrop, cloud; peyalai rain; puyal, pucal cloud, raining, water; gale, storm, tempest; poci (-v-, -nt-) to ooze, percolate, flow. Ma. peyyuka to pour, rain; peyttu raining; peyyikka to cause to rain. Ko. oy- (oc-) (rain) rains. Ka. poy to pour, cast; n. pouring; puy to pour, cast; pōcal pouring water. Koḍ. poyy- (poyyuv-, pojj-) (rain) rains, (wind) blows. Kor. (O.) pī- to pour. Te. pōyu to pour, cast in metal; (K. also) (sweat, pus) forms; pō̃ta pouring, casting in metal. Kol. (SR.) paiyeng to pour. Nk. (Ch.) pī- id. Go. poy- (Ma.) (water) pours, flows, (Ko.) to be spilled, flow (Voc. 2396); (Koya Su.) poy- (water) to be spilled; (ASu.) poccī- to pour out (water). Kuwi (F.) boiyali (bōt-) to overflow (a vessel); (Su. Isr.) bō- (-t-) to be spilled. Kur.poē̃nā (before vowel pońń-, pō̃yy-; past possā) to fall (of rain); puỹdnā to pour some water on rice when ready for a meal. Malt. poye (pos-) to rain; puthyeto pour.(DEDR 4407)

Text message on seal m948 consists of five hieroglyphs/hypertexts


 Sign 327 lōhakāra kolimi 'smithy/forge of blacksmiths, ironsmiths'. 
 Sprout hieroglyph is repeated four times to configure Sign 190 as hypertext.
Variants of Sign 169
Variants of Sign 190
Sign 190 is a hypertext composed of 1. count of four; 2. sprout (Sign 169). Thus, the message is: bar of metal & equipment. kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u 'bar of metal' PLUS khaṇḍa 'equipment'

Thus, the five hieroglyphs on Seal m948 signify: 
Hieroglyph/hypertext 1.kor̤u khaṇḍa bar of metal & equipment.

Hieroglyph 2. Three linear strokes: kolimi 'smithy, forge'

Hieroglyph 3. Two short linear strokes as superfix: sal 'splinter' rebus: sal 'workshop'


Hieroglyph/hypertext 4.lōhakāra kolimi 'smithy/forge of blacksmiths, ironsmiths'
Hieroglyph 5. One long linear stroke: koḍa 'one' rebus: koḍ 'workshop'

Together, the five hieroglyphs of the text message of m948 signify in Meluhha rebus renderings: 

kor̤u khaṇḍa kolimi bar of metal & equipment smithy/forge AND 
lōhakāra kolimi koḍ 'smithy/forge of blacksmiths, ironsmiths workshop'


Cosmic Dancer Naṭarāja sculpture narratives of Gajasamhāra, Apasmāra, intimations from Indus Script

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Note: The roots of Naṭarāja sculpture narratives are traceable to Sarasvati-Sindhu Civilization with the discovery of a dancer statue dated to ca. 2500 BCE, because the dance step is a karaa rebus: karaa 'scribe' in Indus Script.
Photographs of Male Dancing Figure from Harappa harappa.com "Although its contours are soft and effeminate, the figure is that of a male, and it seems likely that it was ithyphallic, since the membrum virile was made in a separate piece. I infer, too, from the abnormal thickness of the neck, that the dancer was three-headed or at any rate three-faced, and I conjecture that he may represent the youthful Siva Nataraja." (Marshall, Mohenjo-daro, I., 45-46.)

Naarāja, Chennakesava Temple



The Naarāja sculpture of Chennakesava temple, Belur shows amazing details: a snake entering into eye of a skull and emerging out of the throat of the skull, as the cosmic dance progresses. On his left hands, dhanus (bow), palm leaves and a writing instrument are held. On his right hands are held the damaru, the post holding up a skull,rudraksha bead necklace. He also wears small snakes as ornaments. Holding a triśula with both hands, the trident spear pierces into the belly of an attacking demon. Naṭarāja dances on the body of अप-स्मार epilepsy , falling sickness; want of memory, confusion of mind (in rhet. one of the व्यभिचारिभावs, q.v.)(Monier-Williams)  अपस्मरणम् apasmaraṇam Reminding (?); सकृद्वचनेन ज्ञातस्य पुनर्वचनेन प्रयोजनमस्तीति । उच्यते । भवति अपस्मरणमपि प्रयोजनमित्युक्तम् । ŚB. on MS.5.1 1. (If the word is अप्रस्मरण it would mean 'absence of forgetting' प्र + स्मृ is used by Śabara in the sense 'to forget'. It is, therefore, likely that the reading here is अप्रस्मरण instead of अपस्मरण which does not appear in शबर's भाष्य elsewhere.); अपस्मारिन् apasmārin a. Epileptic, having an epileptic fit; Ms.3.7; फेनायमानंपतिमापगानामसावपस्मारिणमाशशङ्के Śi.3.72.; अपस्मारः apasmāraḥ, अपस्मृतिः apasmṛtiḥ f. [अपस्मारयति स्मरणं विलोपयतिस्मृ-णिच्कर्तरि अच्, or अपगतः स्मारः स्मरणं यतः1 Forgetfulness, loss of memory; स्मर˚ Bh.1.89. -2 Epilepsy, falling sickness; Suśr. thus derives it; स्मृतिर्भूतार्थविज्ञानमपश्च परिवर्जने । अपस्मार इति प्रोक्तस्ततोऽयं व्याधिरन्तकृत् ॥अपस्मृत apasmṛta a. Absentminded, unconscious; मुखाद्वमन्रुधिरमपस्मृतोऽसुरः Bhāg.10.18.29;
अपस्मृति apasmṛti a. Forgetful. (Apte)

The sculptural prayers offered by the sculptors at Belur and Halebidu have no parallel anywhere in the globe. It is as if, the sculptors entered into the state of samadhi, recollecting the splendour of the cosmic dance and rendering narratives recounted in texts of the Dance King.  The sculptural prayers are accompanied by musicians heralding the events. 

Many splendid moments of the Cosmic Dance are frozen in stone and seen in Chennakesava, Hoysalesvara temples, Belur, Halebidu.

Sculpture of Shiva dancing powerfully on the body of a demon Apasmara the death , Hoysaleshwara temple, Halebidu, Karnataka. view. Sculpture of Shiva dancing royalty free stock photos
Hoysales'vara Temple, Halebidu.
Ornate wall panel reliefs depicting Shiva dancing on the head of ...
File:12th-century Belur Vaishnavism Hindu temples complex ...
File:12th-century Belur Vaishnavism Hindu temples complex ...
Hoysaleswara Temple Wall Carving Of Lord Shiva Dancing On Top ...
Hoysaleswara Temple wall carved with sculpture of lord shiva dancing on top of demon
Hoysaleshwara Temple wall carving of lord shiva dancing on top of a demon
Hoysales'vara temple, Halebidu.
Lord Shiva as Dancer Dancing on the Demon of Ignorance." Halebidu ...
Belur, Karnataka, India - November 2, 2013: Chennakeshava Temple ...
Nataraj dances on 'Apasmara'
Sculpture of Shiva dancing on the body of a demon Apasmara (the ...
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Hoysalesvara Temple. Natarāja


Mystery as 60 peculiar lead cubes with inscriptions resolved. The key is provided by continuum of Indus Script tradition.

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This is an addendum to: 

https://bharatkalyan97.blogspot.com/2020/05/mystery-as-60-peculiar-lead-cubes-with.html

The mystery of 60 lead cubes found in Coventry river is resolved. Thanks to Prof. Shrinivas Tilak for providing the links to additional documentation related to magic squares on ancient tokens posted in 2012 and 2013 by comments of numismatists on lead coins of square, circular and triangular shapes.



These are a continuum of Sarasvati_Sindhu Civilization AND Indus Script tradition of documenting wealth resources of metalwork by lapidaries and smiths and seafaring merchants dealing in these resources and precious stones. The hieroglyphs of Indus Script Corpora, e.g. elephant,buffalo, jackal, spoked wheel continue to be used to signify metalwork wealth.

It is significant that lead is used to record messages on these magic cubes with magic squares yielding a total of say, 36, adding up numbers recorded on 3x3 squares, across rows, columns and diagonals.

Rahu is invoked on square or circular tokens with magic squares of numbers which show on obverse the hieroglyphs of elephant or buffalo.
Ketu is invoked on triangular tokens which show on obverse the hieroglyph of a jackal.

On Indus Script Corpora, these animals are signified. For example, see two jackals on one side of a tablet together with elephant and spoked wheel.: Sometimes, the jackal is replaced by a leopard or tiger.
What is current thinking on the female diety with outstretched ...krōṣṭŕ̊ ʻ crying ʼ BhP., m. ʻ jackal ʼ RV. = krṓṣṭu -- m. Pāṇ. [√kruś]
Pa. koṭṭhu -- , ˚uka -- and kotthu -- , ˚uka -- m. ʻ jackal ʼ, Pk. koṭṭhu -- m.; Si. koṭa ʻ jackal ʼ, koṭiya ʻ leopard ʼ GS 42; -- Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H. kolhā˚lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ˚lũ n. ʻ jackal ʼ, M. kolhā˚lā m.(CDIAL 3615) The common spoken form of Meluhha word is kola Rebus: kol 'working in iron, blacksmith', kolhe 'smelter'

Elephant: karibha, ibha /'elephant' rebus: karba, ib 'iron'

Buffalo hiroglyph: rāngo 'water buffalo bull' (Ku.N.)(CDIAL 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1]Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅrāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562)
Spoked potter's wheel:  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 .(Pashto) Rebus: arka sal 'goldsmith's workshop'; arka 'copper, gold' arka 'sun's rays'.

I suggest that these are remembered hieroglyphs from Indus Script tradition related to documenting metalwork repertoire. The one-eyed person with stretched arms: The stretched arms signify stature: kāḍ 'stature', kāṭi 'body stature rebus: khad 'iron stone'; Eye hieroglyph: kaN 'eye' rebus: kan 'copper'. Round halo surrounding the eye: 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 (CDIAL 12069) Rebus:  கண்வட்டம் kaṇ-vaṭṭam , n. < id. +. 1. Range of vision, eye-sweep, full reach of one's observation; கண்பார்வைக்குட்பட்ட இடம். தங்கள் கண்வட்டத்திலே உண்டுடுத்துத்திரிகிற (ஈடு, 3, 5, 2). 2. Mint; நாணயசாலை. கண்வட்டக்கள்ளன் (ஈடு.).Other languages have the same word with pronunciation variants: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)


Thus, the inscription on one side of the tablet is a wealth accounting ledger of a mint working with the wealth resources of iron, copper, gold and irons stones.

One hypothesis may be posited: the magic squares and accompanying wealth resource signifies of hieroglyphs of elephant, buffalo, jackal are expressions of desires and longing to acquire wealth resources.

March 11, 2012

Lead Elephant Coins and Lead Bull Squares

Found these today in the Mississippi River in Minneapolis, MN. They are made of lead. I can bend them with my hands with a bit of force. Found 4 round elephant coins, about the size of a Morgan Silver dollar, and 3 square bull pieces, all in a 10 sq foot area of the Mississippi River in 4 to 5 ft of water (river very low this year). Reverse side appears to be foreign writing. Any ideas?
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March 11, 2012

 Lead Elephant Coins and Lead Bull Squares

The elephant coin.
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Re: Mystery Indian tokens?
« Reply #5 on: February 19, 2013, 02:19:18 AM »
The numbers are Rows, columns, diagonals add up to 36:
13   8   15
14 12  10
 9  16  11
Mystery Indian tokens?
« on: February 18, 2013, 11:00:34 PM »
Text reads: राहवे नमः Rahave namah
Text reads: केतवे नमः ketave namah (i.e. prayer to Ketu graha)

http://www.treasurenet.com/forums/what/286825-lead-elephant-coins-lead-bull-squares.html

The rows, columns, diagonals add up to 15 in Tamil Numerals: 276 951 438 Compare this cube of Palani with the 60 lead cubes of Coventry river.
A recently renovated pillar in the Palani temple bore inscriptions of a Sudoku-like game.

Archaeologists have found inscriptions on a stone pillar in a mandapam located in the foothills of Palani
Add caption
https://www.thenewsminute.com/article/did-south-indians-play-sudoku-300-years-back-archeologists-find-rare-inscriptions-tn-78625





Some of the cubes found in a Coventry river together with some ancient coins from India.
A haul of mysterious cubes has been found by a magnet fisherman

Mystery as 60 peculiar cubes with inscriptions pulled from Coventry river

Riddle after magnet fisherman finds vast amount of engraved lead squares at secluded stretch of river
A magnet fisherman out with his two young sons at a river in Coventry reeled in almost 60 mysterious cubes thought to show a sacred numerical inscription.
Will Read found the haul of engraved lead squares – believed to be connected to a mystical Hindu prayer ritual – while out sifting through shallow water.
The faces of the objects, small enough to hold between finger and thumb, are set into neat grids with inscriptions thought to be in Sanskrit.
At first, Will, 38, from Finham, thought the cubes were just random pieces of debris littering the bottom of the River Sowe in south Coventry.
But as he and sons Jackson, five, and Benjamin, seven, took a closer look on Friday (May 8), they noticed the detailed inscriptions set onto the faces of the squares.
Will said: “We were out magnet fishing as our daily activity in lockdown and we were at a relatively isolated spot. At first we found keys and pennies and other bits and bobs and then we looked down and saw what we thought were tiles.
“I was live-streaming to friends on Facebook and I bent down and started picking them up. I also thought they might be rocks. I showed them to the camera and as I looked back more and more kept appearing.”
https://www.coventrytelegraph.net/news/coventry-news/mystery-60-peculiar-cubes-inscriptions-18232422?utm_source=twitter.com&utm_medium=social&utm_campaign=sharebar

"What I learned is that they are Indian in origin and they show incantations for prayers which take effect when they are thrown in running water."
One Reddit user wrote: "These are jyotish tokens with the Rahu yantra to be used for a Rahu Ranga Mantra recital and practice. Likely for personal gain.
"You are right that these are magic squares, but more specifically they are called Navagraha Yantras. There are traditionally 9 of them (one for each 'planet'), each having a distinct combination of 9 numbers. Together they can be combined to form their own 'Magic square'.
Having also found a silver coin with the cubes, Read also plans to go back to the river to see if there are anything else lurking in the dirt - though cleverly he's not telling anyone where exactly the spot is.

Jess Hardiman

Jess is a journalist at LADbible who graduated from Manchester University with a degree in Film Studies, English Language and Linguistics - indecisiveness at its finest, right there. She also works for FOODbible and its sister page Seitanists, which are both a safe haven for her to channel a love for homemade pasta, fennel and everything else in between. You can contact Jess at editorial@ladbible.com.

Magnet Fisherman Finds 60 Mysterious Cubes With Inscriptions in Coventry River

So, are they cursed or not? You be the judge.
Who doesn't love mysteries? Every secluded part of earth holds mysteries that are waiting to be solved, and in this instance, that place was a river in Coventry. A magnet fisherman out with his two sons found almost 60 enigmatic cubes that are believed to show a sacred numerical inscription.
Will Read, the 38-year-old magnet fisherman from Finham, found the "lead blocks" while sifting through shallow water. They were searching for ferromagnetic objects available to pull with a strong neodymium magnet.
The cubes, which were small enough to hold between finger and thumb, weighed 125 grams each. They were set into neat grids with inscriptions thought to be in Sanskrit. As more and more people commented, the mystery started to unfold.

Thought to be tiles or rocks at first

Read and his sons thought the cubes were debris that was littering the bottom of the River Sowe in South Coventry.
He recalled the unusual event to Coventry Live, "We were out magnet fishing as our daily activity in lockdown and we were at a relatively isolated spot. At first, we found keys and pennies and other bits and bobs, and then we looked down and saw what we thought were tiles."

He was reportedly live-streaming to his friends on Facebook and started picking up what he thought were tiles or rocks. "I showed them to the camera and as I looked back more and more kept appearing."
After collecting the mysterious cubes, Read posted the images on Facebook to find out what they might be. Of course, thousands of people started presenting their opinions, and let's just say that people's imaginations ran wild. 
During this process, Read returned to the spot twice more and also found a silver coin that was lying by where the cubes were.

What are they?

The majority of the comments show that the cubes might be connected to a Hindu prayer ritual. Read says, "What I learned is that they are Indian in origin and they show incantations for prayers which take effect when they are thrown in running water."
Magnet Fisherman Finds 60 Mysterious Cubes With Inscriptions in Coventry River
All the cubes are entirely identical other than a different face on only one side. According to one Redditor, they, supposedly, are Jyotish tokens which contain a numerical formula to summon the protection of Rahu, a planet with God-like powers, who controls thieves, magicians, snakes, jails, and isolated places.
Magnet Fisherman Finds 60 Mysterious Cubes With Inscriptions in Coventry River

'Magic' squares 

The comment reads, "Based on another comment these are Indian numerals:
15 8 13
10 12 14
11 16 9
All rows, columns, and diagonals add up to 36, this makes it a magic square! But more specifically, they are called Navagraha Yantras. There are traditionally 9 of them (one for each "planet"), each having a distinct combination of 9 numbers. Together they can be combined to form their own "Magic square."
"The words on the bottom are some form of either: om raam rahave namah om raag rahave namah or simply, om rahave namah. These are called Beej (seed) mantras."
Apparently, "the placement of Lead (raanga) in running water is particularly important in this practice as a remedy for specific things and astrological circumstances."

Latin Squares, Magic, and Euler

Moreover, as another Redditor points out, they are interesting in the mathematical-front too. "Magic squares (and a similar concept, known as Latin squares) can function as numeric representations of resource distribution and scheduling problems, where you need to ensure that every entity is treated equally."
Mathematic-enthusiasts can check out this thread which touches upon everything from magic cubes to famous conjectures of Euler's work on Latin squares. 
However, these are not for certain and the cubes still remain a mystery. The mystery isn't solved yet in its entirety, and we still don't know how 60 of them ended up in a quiet river in Coventry. So, are they cursed or not? You be the judge.
Magnet Fisherman Finds 60 Mysterious Cubes With Inscriptions in Coventry River
Magnet Fisherman Finds 60 Mysterious Cubes With Inscriptions in Coventry River



Fisherman Catches Sacred Math Cubes, Internet Goes on Scavenger Hunt

Just how old are these mysterious artifacts, and what do they mean?
math cubes
  • A man and his kids found 60 dice-like lead tokens in a shallow river in England.
  • Magnet fishing is a popular pastime, offering a chance to pull out artifacts or even ammunition.
  • There's no sign of how old these cubes are, but they're part of a Hindu astrological ritual.

    Locals and Redditors alike are baffled by a haul of 60 elaborately engraved silver metal cubes pulled from the River Sowe in Coventry in central England. A keen-eyed Redditor has identified them as fortunetelling cubes used in a special kind of Hindu prayer. As for the rest of the details—how they got there, why no one retrieved them after the ritual, and how old they might be—no one knows.
    Will Read was magnet fishing with his young children when he found the cubes. Experts sometimes warn people not to magnet fish, which is just what it sounds like, because magnets can pull items like unspent ammunition or grenades from the bottom of bodies of water. In this case, Read and his kids found the lead blocks in shallow water, no magnets required. (Lead isn’t really magnetic anyway.)

    The oldest known lead artifacts date back 6,000 years, and dating some random lead items found in a river will require an expert. The fact that they’re Hindu makes a difference, but people moving from India to England date back 500 years to Elizabethan times. While lead leaches into drinking water based on many factors including pH, temperature, and how old the pipes are, some lead items sitting in cool, fresh water could last a very long time.
    So what are these mysterious cubes? One thorough answer on Reddit explains that they appear to be prayer tokens of a sort. In Hindu astrology, as in Greco-Roman and others, the classical planets each have a representation. And the classical elements are linked with planets as well, intertwined in the histories of alchemy and fortunetelling. In Roman astrology, lead is the element linked with Saturn—the planet as well as the god. In Hindu astrology, lead is linked with one side of the moon’s orbit, known as Rahu.

    Something people noted about the cubes is that they’re engraved with magic squares. These are grids of integers with properties that resemble and exceed sudoku grids: each row, column, and diagonal adds up to the same universal value. Within Hindu worship, these can be used as yantra, or sacred grids or geometries. Rahu’s yantra appears on these cubes, indicating they were designed to be used as prayers or offerings to Rahu or as part of another ritual. (Update: A reader wrote to say another item in the find shows "the Hindu goddess Durga, the Mother Goddess, riding her vahana, the lion," so this could be a prayer to her.)

    Without any contextual information, how can scientists tell how old these cubes are? For a long time, even experts couldn’t accurately gauge the age of lead artifacts. That was a huge source of frustration because 
    lead dates back so far in human history. A process called voltammetry is now used for processes related to lead, both to detect levels in water and to date artifacts to within 150 years.
    That may not sound very precise—but when the oldest examples date back six millennia, 150 years is pretty damn good. It just may not reveal much about some sacred cubes found in a river in central England.
    mysterious math cubes
    mysterious math cubes

    Itihāsa. Garbha Upanishad: How Life Begins -- Subhash Kak (December 31, 2019)

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    The Garbha Upanishad: How Life Begins - Subhash Kak - MediumMother Goddess and Child 600 CE/ Simon Norton Museum
    ॥ गर्भोपनिषत् ॥
    यद्गर्भोपनिषद्वेद्यं गर्भस्य स्वात्मबोधकम् ।
    शरीरापह्नवात्सिद्धं स्वमात्रं कलये हरिम् ॥
    Whence are living beings born?
    What is life and how does it begin? How does awareness dawn in the developing fetus? These are questions that Sage Pippalāda asks in this astonishing text. Pippalāda is also credited with the answers in the Praśna Upaniṣad, which is one of the primary Upanishads and one of the oldest. The six questions in the Praśna Upaniṣad are:
    1. Whence are living beings born?
    3. Whence does life come into the body? How does it abide? How does it go out of the body? How does life interface with the external world? How is it connected with the Self?
    4. What powers are quiescent when one sleeps, and what powers are awake? Who sees the dreams? Who experiences happiness? In whom are all these established?
    5. If one were to meditate on the symbol “Om” until death, what would one obtain by doing so?
    6. Who is the person with sixteen parts? (This is a question about the different modes of the Self.)
    These are the deepest questions of life and remain as urgent now as they were three or four thousand years ago. My objective is not to revisit these questions but only to focus on Pippalāda’s answers provided in the Garbha Upaniṣad, which is a companion text with deeper responses to some of these questions.
    There is no unanimity about the date of the Garbha Upaniṣad. Since it is ascribed to Pippalāda, we need to determine this sage’s place in the Vedic tradition, although it is believed that the text may not be as old as the sage. Pippalāda is also the author of the Atharvaveda śākhā named after him (Paippalāda śākhā). If the Ṛgveda is to be taken to be no later than 2000 BCE as suggested by hydrological evidence related to the drying up of the Sarasvatī River that the Ṛgveda celebrates as flowing from the mountains to the sea, then as a principal arranger of the Atharvaveda, Pippalāda should be assigned to at least the middle of the second millennium BCE. But there are some Western scholars who believe these dates are a thousand years too long and the Garbha Upanisad should be assigned to 600 BCE or so.
    According to the Purāṇas, Pippalāda was the disciple of the Ṛṣi Vedasparśa, and he instructed Yudhiṣṭhira in the significance of the Aṅgāravrata, which is based on a dialogue between Śukra and Virocana.
    The physiological knowledge in the Garbha Upaniṣad is consistent with that found in the oldest Upaniṣads. Like the other texts, it speaks of recursion, but it doesn’t list as many channels (veins and nerves) as some other texts do. This indicates that this Upaniṣad may be older than has been assumed.
    Pippalāda’s six questions in the Praśna Upaniṣad are reminiscent of the six darśanas that touch upon six different aspects of reality: logic and structure of speech (nyāya), structure of matter (vaiśesika); creation at the cosmic and personal levels (sāṅkhya), synthesis of matter and mind (yoga); analysis of lived life (mīmāṃsā), and understanding of overarching reality (vedānta). This is not an argument for the lateness of the Praśna Upaniṣad, but rather for the remote antiquity of six bases to reality, which mirror the six directions.
    For a proper understanding of the Garbha Upaniṣad it is essential to understand the subtle ideas of recursion, physiology and consciousness, channels in the body, and causal chain and birth.
    Like other sages of the Upaniṣads, Pippalāda is systematic and rational. The physical basis of life, and the sequence following the development of the embryo, is clearly defined. He describes the basis of life mystically in categories that go, in sequence, from 2 to 7. In the body emerge 8 natures and in it arise 16 modifications that are similar to the tattvas of Sāṅkhya and the modes indicated in Praśna Upaniṣad 6.4.
    The embryo is taken to have become jīva (conscious self) in the seventh month, and in the eighth month, it becomes complete in every sense. This gives the time the fetus becomes a person, with attendant legal rights. It is not explained how the jīva comes to be attached to the body.
    Although other passages indicate that the jīva resides in the heart’s recess, it also suffuses the entire body; furthermore, its identity with the Puruṣa means that, mysteriously, it is one with the entire universe. The distinction also implies the existence of the subtle body (liṅgam). In the Sarvasāra Upaniṣad 7, the subtle body is defined as created out of the mind and other subtle elements that reside in the knot of the heart. The consciousness within this subtle body is called the “knower of the field” (kṣetrajña).
    The body is an instrument of the heart, but for it to be able to do what it can, the ketrajña must be free: this is mokṣa omukti.
    Recursion
    Recursion, the mirroring of the cosmos at several levels, including at the level of the body, is one of the central ideas of the Upaniṣads. It is clearly stated, for example, in the Chāndogya Up. 8.1.1 and 3, where we are told that within the heart is this small place with the heaven, earth, sun, moon, and stars where the lights of the universe shine.
    अथ यदिदमस्मिन्ब्रह्मपुरे दहरं पुण्डरीकं वेश्म दहरोऽस्मिन्नन्तराकाशस्तस्मिन्यदन्तस्तदन्वेष्टव्यं तद्वाव विजिज्ञासितव्यमिति ॥ ८. १. १ ॥
    यावान्वा अयमाकाशस्तावानेषोऽन्तर्हृदय अकाश उभे अस्मिन्द्यावापृथिवी अन्तरेव समाहिते उभावग्निश्च वायुश्च सूर्याचन्द्रमसावुभौविद्युन्नक्षत्राणि यच्चास्येहास्ति यच्च नास्ति सर्वं तदस्मिन्समाहितमिति ॥ छान्दोग्योपनिषद् ८. १. ३ ॥
    There is in this city of Brahman (the body) the mansion in the shape of a lotus and in it the small inner ākāśa (sky). What lies there that should be sought, which one should seek to understand?’
    As large indeed as is this ākāśa, so large is that ākāśa in the heart. Within it are contained both heaven and earth, both fire and air, both sun and moon, lightning and stars; whatever there is of him (asya) in this world and whatever is not, all that is contained within it. (Chandogya Up. 8.1.1 and 8.1.3)
    This recursion is also expressed across time, and it leads to a variety of paradoxes that, the Vedas tell us, cannot be explained away by language. It is described most clearly in the last (fifth) section of the Garbha Upaniṣad in which the body itself is seen as the ground of the sacrifice.
    Speaking of recursion, one must also mention hiraṇyagarbha, the golden womb out of which, the Veda tells us, the universe emerged. In an abstract sense, creation at the cosmic level is to be understood in a sense similar to that at the individual level.
    Physiology and consciousness
    Now we consider the most interesting assertion that the body consists of 107 marmas (weak spots), 180 sutures or junction points, 109 snāyu (sinews), 700 veins, 500 majjā (muscle), 360 bones, and forty-five million hairs.
    The numbers 180 and 360 are obviously astronomical and related to the number of days in the civil year. Their occurrence is the assertion of the mirroring of the cosmos in the body.
    The numbers 107 and 109 are also, but less obviously, astronomically related. I have shown elsewhere (see References 1 and 2) that the Vedic Ṛṣis characterized the universe by the measure of 108, for it represents the distance to the sun and the moon from the earth, in multiples of their respective diameters. If the body mirrors the universe, it will have 108 parts, with 107 vulnerable joints (marmas), and 109 lashes to hold them together (snāyu).
    Other Upaniṣads (e.g. Aitareya 3.3) speak of four kinds of life: born alive, born from egg, born from moisture (insects), and born from germ (plants).
    बीजानीतराणि चेतराणि चाण्डजानि च जारुजानि च स्वेदजानि चोद्भिज्जानि चाश्वा गावः पुरुषा हस्तिनो यत्किञ्चेदं प्राणि जङ्गमं चपतत्रि च यच्च स्थावरं सर्वं तत्प्रज्ञानेत्रं प्रज्ञाने प्रतिष्ठितं प्रज्ञानेत्रो लोकः प्रज्ञा प्रतिष्ठा प्रज्ञानं ब्रह्म ॥ ऐतरेय उपिनषत् ३.३ ॥
    [These all] are born of eggs, of wombs, of moisture, and of sprouts, namely horses, cattle, men, elephants, and all creatures that there are that move or fly and those that do not move. All these are guided by consciousness and supported by consciousness; the basis is consciousness. Consciousness is Brahman. (Aitareya Up. 3.3)
    Consciousness is not taken to exist only in the human, but in all life.
    Channels in the body (Nāḍis)
    The count of 700 channels does not go to the usual details that are to be found in other Upaniṣads. Thus Pippalāda instructs Āślavāyana in Praśna Upaniṣad 3.6:
    अत्रैतदेकशतं नाडीनं तासां शतं शतमेकैकस्या द्वासप्ततिर्द्वासप्ततिः प्रतिशाखानाडीसहस्राणि भवन्त्यासु व्यानश्चरति ॥ प्रश्नोपनिषत्/तृतीयः प्रश्नः ३.६ ॥
    Here there are one hundred and one channels;
    each of these has one hundred more;
    each further has seventy-two thousand branching channels;
    through which the vyāna (breath) courses. (Praśna Up. 3.6)
    This means that the total number of channels (veins, nerves) equals: 101 + 101×100 + 101×100×72,000 = 727,210,201. Of these, the most significant channel is the suṣumnā.
    Bṛhadāraṇyaka Upaniṣad 2.1.19 speaks of how the Self returns to the body along the 72,000 hitā channels, which branch off from the heart to all parts of the body. This together with a further description of these nerves of four colors is described well in the Kauṣītaki Brāhmaṇa Upaniṣad:
    तं होवाचाजातशत्रुर्यत्रैष एतद्बालाके पुरुषोऽशयिष्ट यत्रैतदभूद्यत एतदागाद्धिता नाम हृदयस्य नाड्यो हृदयात्पुरीततमभिप्रतन्वन्ति तद्यथासहस्रधा केशो विपाटितस्तावदण्व्यः पिङ्गलस्याणिम्ना तिष्ठन्ति । शुक्लस्य कृष्णस्य पीतस्य लोहितस्येति तासु तदा भवति । यदा सुप्तःस्वप्नं न कञ्चन पश्यत्यस्मिन्प्राण एवैकधा भवति तथैनं वाक्सर्वैर्नामभिः सहाप्येति चक्षुः सर्वै रूपैः सहाप्येति श्रोत्रं सर्वैः शब्दैः सहाप्येतिमनः सर्वैर्ध्यातैः सहाप्येति स यदा प्रतिबुध्यते यथाग्नेर्ज्वलतो सर्वा दिशो विस्फुलिङ्गा विप्रतिष्ठेरन्नेवमेवैतस्मादात्मनः प्राणा यथायतनंविप्रतिष्ठन्ते प्राणेभ्यो देवा देवेभ्यो लोकास्तद्यथा क्षुरः क्षुरध्यानेऽवहितः स्याद्विश्वंभरो वा विश्वंभरकुलाय एवमेवैष प्राज्ञ आत्मेदंशरीरमात्मानमनुप्रविष्ट आ लोमभ्य आ नखेभ्यः ॥ १९ ॥
    तमेतमात्मानमेतमात्मनोऽन्ववस्यति यथा श्रेष्ठिनं स्वास्तद्यथा श्रेष्ठैः स्वैर्भुङ्क्ते यथा वा श्रेष्ठिनं स्वा भुञ्जन्त्येवमेवैषप्राज्ञात्मैतैरात्मभिर्भुङ्क्ते । एवं वै तमात्मानमेत आत्मानो भुञ्जन्ति । स यावद्ध वा इन्द्र एतमात्मानं न विजज्ञे तावदेनमसुरा अभिबभूवुः । सयदा विजज्ञेऽथ हत्वासुरान्विजित्य सर्वेषां देवानां श्रैष्ठ्यं स्वाराज्यमाधिपत्यं परीयाय एवैवं विद्वान्सर्वान्पाप्मनोऽपहत्य सर्वेषां भूतानां श्रैष्ठ्यंस्वाराज्यमाधिपत्यं पर्येति य एवं वेद य एवं वेद ॥ कौषीतकिब्राह्मणोपनिषत् ४. २० ॥
    The nerves of the heart named hitā extend from the heart of the person towards the surrounding body. Fine as a hair divided a thousand-fold, they stand full of thin essence of various colors, white, black, yellow, and red. In these one remains when sleeping and sees no dream, becoming one with the prāṇa alone. Then speech with all names goes to it, the eye with all forms goes to it, the ear with all sounds goes to it, and the mind with all thoughts goes to it. And when he awakes, then as from a blazing fire sparks proceed in all directions, thus from that self the prāṇas proceed, each towards its place, from the prāṇas the gods (the senses), from the gods the worlds. And as a razor might be placed in a razor-case, or as fire in the fire-place, even so this conscious self enters the body to the very hairs and nails.
    On that self depend other selves, as the men follow the chief, or as his own people are of service to the chief, even so these other selves are of service to that self. So long Indra did not understand this self, the Asuras defeated him. When he understood this, striking down and conquering the Asuras, he attained pre-eminence among all gods and all beings, sovereignty and supremacy. And thus also he who knows this obtains pre-eminence among all beings, sovereignty, supremacy — he who knows this, yes, he who knows this. (Kauītaki Brāhmaṇa Upaniṣad 4.19–20)
    Causal chain and birth
    In Section 4, the Upaniṣad speaks of how the newborn forgets the causal chain at the moment of birth. This echoes the Bhagavad Gītā:
    इच्छाद्वेषसमुत्थेन द्वन्द्वमोहेन भारत ।
    सर्वभूतानि सम्मोहं सर्गे यान्ति परन्तप ।। ७.२७ ।।
    By the rising together of desire and envy from the confusion of duality, all beings, when born, fall into the state of forgetting. (Bhagavad Gītā 7.27)
    By doing this, it is able to fit the individual’s embodiment in the womb that is consistent with the idea of rebirth.

    The Text of the Garbha Upanishad

    ॐ सह नाववतु ।
    सह नौ भुनक्तु ।
    सह वीर्यं करवावहै ।
    तेजस्वि नावधीतमस्तु मा विद्विषावहै ।
    ॐ शान्तिः शान्तिः शान्तिः ॥
    Om! May we be protected; may we be nourished; may we act together with energy; may our study be vigorous and effective; may we not mutually dispute. Om! śāntiḥ, śāntiḥ, śāntiḥ.
    ॐ पञ्चात्मकं पञ्चसु वर्तमानं षडाश्रयं
    षड्गुणयोगयुक्तम् ।
    तत्सप्तधातु त्रिमलं द्वियोनि
    चतुर्विधाहारमयं शरीरं भवति ॥
    The body is fivefold in nature (the five elements), existing in the five, depending on the six supports (tastes of food), connected with the six qualities, [consisting of] seven dhātus (tissues), three impurities, having two yonis (sexes), and [nourished by] four kinds of food.
    पञ्चात्मकमिति कस्मात् पृथिव्यापस्तेजोवायुराकाशमिति ।
    अस्मिन्पञ्चात्मके
    शरीरे का पृथिवी का आपः किं तेजः को वायुः किमाकाशम् ।
    तत्र यत्कठिनं सा पृथिवी यद्द्रवं ता आपो यदुष्णं
    तत्तेजो यत्सञ्चरति स वायुः यत्सुषिरं तदाकाशमित्युच्यते ॥
    How is it pancātmakam (five-fold)? Because of the five: earth, water, fire, air and ether. In this five-fold body, what is earth, what is water, what is fire, what is air, and what is ether? It is said that what is hard is earth, what is fluid is water, what is warm is fire, what moves is air, and what is space is ether.
    तत्र पृथिवी धारणे आपः पिण्डीकरणे तेजः प्रकाशने
    वायुर्गमने आकाशमवकाशप्रदाने । पृथक् श्रोत्रे
    शब्दोपलब्धौ त्वक् स्पर्शे चक्षुषी रूपे जिह्वा रसने
    नासिकाऽऽघ्राणे उपस्थश्चानन्दनेऽपानमुत्सर्गे बुद्ध्या
    बुद्ध्यति मनसा सङ्कल्पयति वाचा वदति ।
    There the earth is to support, water is to consolidate, fire is for light, air is for movement, and ether is to provide space. Separately, ears are to receive words, the skin for touch, eyes to see form, tongue for taste, and nose for smell. The genitalia are for pleasure and apāna for evacuation. One cognizes with the intellect (buddhi), envisions with the mind (manas), and speaks with words (vāk).
    षडाश्रयमिति
    कस्मात् मधुराम्ललवणतिक्तकटुकषायरसान्विन्दते ।
    षड्जर्षभगान्धारमध्यमपञ्चमधैवतनिषादाश्चेति ।
    इष्टानिष्टशब्दसंज्ञाः प्रतिविधाः सप्तविधा भवन्ति ॥ १॥
    How is the six-fold support? It is said to be the six tastes [of food]: sweet, acid, salty, pungent, bitter, and astringent. And ṣaḍja, ṛṣabha, gāndhāra, pancama, madhyama, dhaivata, niṣāda, together with agreeable and disagreeable sounds and prayer, make seven categories (or ten categories, प्रणिधानाद्दशविधा भवन्ति, which is a variant reading):
    शुक्लो रक्तः कृष्णो धूम्रः पीतः कपिलः पाण्डुर इति ।
    सप्तधातुमिति कस्मात् यदा देवदत्तस्य द्रव्यादिविषया
    जायन्ते ॥ परस्परं सौम्यगुणत्वात् षड्विधो रसो
    रसाच्छोणितं शोणितान्मांसं मांसान्मेदो मेदसः
    स्नावा स्नाव्नोऽस्थीन्यस्थिभ्यो मज्जा मज्ज्ञः शुक्रं
    शुक्रशोणितसंयोगादावर्तते गर्भो हृदि व्यवस्थां
    नयति । हृदयेऽन्तराग्निः अग्निस्थाने पित्तं पित्तस्थाने
    वायुः वायुस्थाने हृदयं प्राजापत्यात्क्रमात् ॥ २॥
    It has white, red, black, smoky gray, yellow, tawny and pale as the colors. What are the seven dhātus (tissues) when Devadatta (any person) desires enjoyment of objects? From the proper combination of qualities, six types of chyle (rasa) emerge. From relish of food, blood is created, from it flesh, thence fat, bones, marrow, semen. By the combination of semen and blood the embryo (garbha) is born, and its growth is regulated by the heart (mother’s heartbeat as well as the embryo’s).
    [The seven dhātus] are in the heart where there’s inner fire; at the place of the fire is pitta (bile); at the pitta-organs is movement (vāyu); and at the vāyu-place is the heart, all growing in order according to the law (Prajāpati).
    ऋतुकाले सम्प्रयोगादेकरात्रोषितं कलिलं भवति
    सप्तरात्रोषितं बुद्बुदं भवति अर्धमासाभ्यन्तरेण पिण्डो
    भवति मासाभ्यन्तरेण कठिनो भवति मासद्वयेन शिरः
    सम्पद्यते मासत्रयेण पादप्रवेशो भवति ।
    When ready, on the joining [of the male and female], [the embryo] after [a day] and night is in a mixed (semi-fluid) state; after seven days it becomes a bubble; after a fortnight, a solid mass, and in a month, it hardens. In two months, it develops the head; in three months, the feet grow.
    अथ चतुर्थे मासे
    जठरकटिप्रदेशो भवति । पञ्चमे मासे पृष्ठवंशो भवति ।
    षष्ठे मासे मुखनासिकाक्षिश्रोत्राणि भवन्ति ।
    In the fourth month, belly and hip are formed; in the fifth month, the backbone is formed; in the sixth month, nose, eyes and ears are formed.
    सप्तमे मासे जीवेन संयुक्तो भवति ।
    अष्टमे मासे सर्वसम्पूर्णो भवति ।
    In the seventh month, [the embryo] comes to have the jīva (conscious self), and in the eighth month, it becomes complete in every sense.
    पितू रेतोऽतिरिक्तात् पुरुषो भवति । मातुः
    रेतोऽतिरिक्तात्स्त्रियो भवन्त्युभयोर्बीजतुल्यत्वान्नपुंसको भवति ।
    If the father’s seed is more potent, it becomes male; if the mother’s seed is stronger, it becomes female. If the seeds are equal, it becomes an intersexual (napuṃsaka, neither male, nor female).
    व्याकुलितमनसोऽन्धाः खञ्जाः कुब्जा वामना
    भवन्ति । अन्योन्यवायुपरिपीडितशुक्रद्वैध्याद्द्विधा
    तनुः स्यात्ततो युग्माः प्रजायन्ते ॥
    If [at the time of impregnation] the parents are agitated [that is the seeds of the parents are not in a normal or healthy state], the child will be blind, crippled, hunch-backed or stunted. If the vital air moves around, the seed enters in two parts, resulting in twins.
    पञ्चात्मकः समर्थः
    पञ्चात्मकतेजसेद्धरसश्च सम्यग्ज्ञानात् ध्यानात्
    अक्षरमोङ्कारं चिन्तयति । तदेतदेकाक्षरं ज्ञात्वाऽष्टौ
    प्रकृतयः षोडश विकाराः शरीरे तस्यैवे देहिनाम् ।
    Enabled by the five-fold self, the intelligence of the five elements emerges, and he meditates on the imperishable syllable Om. With the knowledge of the syllable, he understands the eight natures [five sense organs, the mind, intellect and ego] and their sixteen modifications belong to the self-residing in the body.
    अथ मात्राऽशितपीतनाडीसूत्रगतेन प्राण आप्यायते । अथ
    नवमे मासि सर्वलक्षणसम्पूर्णो भवति पूर्वजातीः स्मरति
    कृताकृतं च कर्म विभाति शुभाशुभं च कर्म विन्दति ॥ ३॥
    Whatever is consumed or drunk by the mother passes through the nerves and vessels to the child, becoming the source of his satisfaction. During the ninth month, all outer signs attain completeness. And he is reminded of his previous birth, and recounts the good and bad deeds committed.
    नानायोनिसहस्राणि दृष्ट्वा चैव ततो मया ।
    आहारा विविधा भुक्ताः पीताश्च विविधाः स्तनाः ॥
    जातस्यैव मृतस्यैव जन्म चैव पुनः पुनः ।
    अहो दुःखोदधौ मग्नः न पश्यामि प्रतिक्रियाम् ॥
    यन्मया परिजनस्यार्थे कृतं कर्म शुभाशुभम् ।
    एकाकी तेन दह्यामि गतास्ते फलभोगिनः ॥
    He thinks: I have seen thousands of wombs, eaten several kinds of food and sucked many breasts. Born and dead again and again, I am immersed in grief but see no remedy. Thinking of my good and bad deeds, I am suffering alone, although the bodies that enjoyed the fruits are gone.
    यदि योन्यां प्रमुञ्चामि सांख्यं योगं समाश्रये ।
    अशुभक्षयकर्तारं फलमुक्तिप्रदायकम् ॥
    यदि योन्यां प्रमुञ्चामि तं प्रपद्ये महेश्वरम् ।
    अशुभक्षयकर्तारं फलमुक्तिप्रदायकम् ॥
    When I get out of this womb, I will take refuge in Sāṅkhya-Yoga, which destroys misery and yields liberation; when I get out of this womb, I will take refuge in Maheśvara, who destroys misery and grants liberation.
    यदि योन्यां प्रमुञ्चामि तं प्रपद्ये
    भगवन्तं नारायणं देवम् ।
    अशुभक्षयकर्तारं फलमुक्तिप्रदायकम् ।
    यदि योन्यां प्रमुञ्चामि ध्याये ब्रह्म सनातनम् ॥
    When I get out of this womb, I will take refuge in Nārāyaṇa, who destroys misery and grants liberation. When I get out of this womb, I will meditate on the eternal Brahman.
    अथ जन्तुः स्त्रीयोनिशतं योनिद्वारि
    सम्प्राप्तो यन्त्रेणापीड्यमानो महता दुःखेन जातमात्रस्तु
    वैष्णवेन वायुना संस्पृश्यते तदा न स्मरति जन्ममरणं
    न च कर्म शुभाशुभम् ॥ ४॥
    When he reaches the birth canal and comes out of it with great difficulty, he is touched by an all-pervading movement [Māyā] that causes him to forget previous births and the good and the bad deeds performed therein.
    शरीरमिति कस्मात्
    साक्षादग्नयो ह्यत्र श्रियन्ते ज्ञानाग्निर्दर्शनाग्निः
    कोष्ठाग्निरिति । तत्र कोष्ठाग्निर्नामाशितपीतलेह्यचोष्यं
    पचतीति । दर्शनाग्नी रूपादीनां दर्शनं करोति ।
    ज्ञानाग्निः शुभाशुभं च कर्म विन्दति ।
    Why the body is called śarīram. It has three fires — namely, jñānāgni, darśanāgni and koṣṭhāgni. Of these, koṣṭhāgni is that fire which enables the digestion of what is eaten; darśanāgnis the fire that gives the power of seeing forms; jñānāgni is that fire of knowledge which enables one to distinguish between good and bad actions.
    तत्र त्रीणि
    स्थानानि भवन्ति हृदये दक्षिणाग्निरुदरे गार्हपत्यं
    मुखमाहवनीयमात्मा यजमानो बुद्धिं पत्नीं निधाय
    मनो ब्रह्मा लोभादयः पशवो धृतिर्दीक्षा सन्तोषश्च
    बुद्धीन्द्रियाणि यज्ञपात्राणि कर्मेन्द्रियाणि हवींषि शिरः
    कपालं केशा दर्भा मुखमन्तर्वेदिः चतुष्कपालं
    शिरः षोडश पार्श्वदन्तोष्ठपटलानि ।
    They have three places. At the heart is the dakṣiṇāgni, in the belly is the gārhapatya, in the mouth is the āhavanīya. The ātman is the yajamāna (sacrificer); intelligence is the mistress; the mind is the Brahmā (the doer); greed and so on [anger, jealousy] are animals [of sacrifice]; mental strength is the vow; contentment and the organs of intellect are the instruments of the yajña (sacrifice); the action organs are the sacrificial objects (comparable to the havis or the rice); the head or the skull is the utensil; the hair thereon is the darbha (the dried grass used in homa); the mouth is the inner altar, the head are the four cups, and the two rows of teeth are the sixteen cups (kapāla) [of the sacrifice].
    सप्तोत्तरं मर्मशतं साशीतिकं सन्धिशतं सनवकं स्नायुशतं
    सप्त शिरासतानि पञ्च मज्जाशतानि अस्थीनि च ह
    वै त्रीणि शतानि षष्टिश्चार्धचतस्रो रोमाणि कोट्यो
    हृदयं पलान्यष्टौ द्वादश पलानि जिह्वा पित्तप्रस्थं
    कफस्याढकं शुक्लं कुडवं मेदः प्रस्थौ द्वावनियतं
    मूत्रपुरीषमाहारपरिमाणात् ।
    [The human body] consists of 107 marmas (weak or sensitive spots), 180 sutures or junction points, 109 snāyu (sinews), 700 channels, 500 majjā (muscle), 360 bones, and forty-five million hairs. The heart weighs 8 palas and the tongue weights 12 palas. It has one prastha of pitta (bile), one āḍhaka of kapha, one kuḍava of śukra, and two prasthas of fat. The measure of the urinary or solid excretions is dependent on the intake. [1 pala = 45.5 grammes; 1 prastham = 728 grammes; 1 āḍhakam = 2,912 grammes; 1 kuḍava = 182 grammes] (The conversion ratios are from Paul Deussen’s book The Philosophy of the Upanishads, Dover, 1966, page 285.)
    पैप्पलादं मोक्षशास्त्रं
    परिसमाप्तं पैप्पलादं मोक्षशास्त्रं परिसमाप्तमिति ॥
    This Mokṣaśāstra was enunciated by the sage Pippalāda. This Mokṣaśāstra was enunciated by the sage Pippalāda.
    सह नाववत्विति शान्तिः ॥
    इति गर्भोपनिषत्समाप्ता ॥
    Note: This is a reformatted version of the translation that was published in 2006.
    References
    S. Kak, The Wishing Tree (3rd edition)Aditya Prakashan, New Delhi, 2015.
    S. Kak, The Astronomical Code of the Ṛgveda (3rd edition). Aditya Prakashan, New Delhi, 2016.
    S. Kak, The Circle of Memory. Mt. Meru, Mississauga, Canada, 2016. [For a non-technical introduction to modern science and the problem of consciousness.]
    S. Kak, Matter and Mind. Mt. Meru, Mississauga, Canada, 2016. [To see the parallels in the consideration of consciousness by Kaṇāda.]
    © Subhash Kak, सुभाष काक, 2006, 2020
    Subhash Kak
    WRITTEN BY


    सुभाष काक. Author, scientist. Quantum information, AI, history of science. https://subhask.okstate.edu/sites/default/files/HistoryVedaArt_SubhashKak.pdf

    https://medium.com/@subhashkak1/the-garbha-upanishad-how-life-begins-76e25d68da45

    Gola Dhoro (Bagasra) compartmented seal is a metallurgy certification for cargo of a seafaring catamaran

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    -- with square inscribed copper tablets to describe the details of the metalwork cargo

    Seven Indus Script inscribed seals were found at Bagasra (Gola Dhoro). One unique seal is a compartmented seal with a socket (and a removable lid) to hold some object (Fig. 11, 12). In addition to the inscription on one side, all other sides of the seal have hatched faces of incised lines and crossed lines (Fig. 13). The size of the seal is 1.39 length x 1.44 width X.7 cm thick. The find spot of the seal is close to a faience workshop of Bagasra. 

    Gregg M. Jamison, Bhanu Prakash Sharma, P. Ajithprasad, K. Krishnan, Kuldeep K. Bhan and V. H. Sonawane , 2017, Inscribed Unicorn Seals from Bagasra, Gujarat: A Comparative Analysis of Morphology, Carving Styles, and Distribution Patterns   in: Heritage: Journal of Multidisciplinary Studies in Archaeology 5 (2017): 01‐21.

    I suggest that the socket would have held a square copper tablet (of less than 1 cm.square) of the type (mostly found from the Great Bath area) in Mohenjo-daro. (212 copper tablets have been analysed and deciphered in the following monographs:

    Copper tablets, 212 Indus Script catalogues deciphered, karaḍā wealth-accounting ledgers archives detail kunda, कच्छप nidhi-s, treasures of Kubera 

    Finds of large numbers of copper tablets in Mohenjo-daro from Great Bath area confirm use of nearby copper ore smelters, furnaces 

     https://tinyurl.com/s6qq46m

    Such square copper tablets might have been inserted in the socket to further certify the attributes of the metalwork equipment and cargo included in the shipment on the jangada, 'catamaran'.





     

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    The hatchings on the sides of the seal are also hieroglyphs: khaṇḍa 'divisions' rebus: khaṇḍa 'equipment'.singhin 'forward thrusting, spiny horned' rebus: singi 'ornament gold'kondh ‘young bull’. kũdār ‘turner, brass-worker’. sangaDa 'lathe, brazier' rebus: sangAta 'collection' (of metalwork) jangada 'cargo boat, catamaran'; koTiya 'rings on neck' rebus: kotiya 'baghlah dhow, cargo boat'.kunda 'lathe' rebus: kunda 'fine gold' PLUS kamata 'portable gold furnace' rebus: kammata 'mint'.
    Text message:
    aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS dhakka 'lid' rebus: dhakka ' blazing, brightmetal' PLUS gaNDA 'four' rebus: khaNDa 'implements'. Thus metal implements of unsmelted metal. bhaTa 'warrior' rebus: bhaTa 'furnace' dula 'pair' rebus: dul 'metal casting' PLUS kamaTha 'bow and arrow' rebus: kammaTa 'mint, coiner, coinage'. Thus metal castings from furnace of mint. kanac 'corner' rebus; kancu 'bronze'. Thus, the seal signifies metalwork of: unsmelted metal, bronze, implements and furnace work/metal castings in a mint. 

    The socket of the Bagasra compartmented seal may have contained some square copper tablets with additional specifications of the cargo being shipped. One example of a square copper tablet of Mohenjo-daro and information contained on it is as follows:

    .

     

    Text message of A1a inscription: Split parenthesis (lozenge): mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, ingot forge.

    ayo ‘fish’ rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) PLUS dhā 'slanted stroke' rebus: dhāako 'ingot' 

    Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.( (CDIAL 2670) rebus: karaDa 'hard alloy'

    barao 'spine, backbone' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

    kanka, karika 'rim of jar' rebus: karī 'supercargo, scribe, helmsman'. 

     

    Field symbol: short-tailed markhor looks back: The short-tailed antelope or markhor is a caprid kid, comparable to the hieroglyph shown on 1) a Dholavira seal in front of 'sun' hleroglyph and 2) a Dholavira seal ion front of a horned person within a ficus glomerata arch, and monkey

     

    करडूं karaū'kid' Rebus: karaā 'hard alloy'. Rebus 2: karaā'daybook (accounting ledger)(Marathi); Rebus 3: kharādī ' turner' (Gujarati). PLUS క్రమ్మర krammara. adv. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు 'look back' (Telugu). Rebus: krəm backʼ(Kho.)(CDIAL 3145) Rebus: kamar 'artisan, smith' + short-tail: xolā 'fish tail' rebus: kol 'working in iron', kolhe 'smelter'. 

    Thus, together, the rebus message: smelter, hard alloy of copper. Alternative to identification as 'kid' is that of an antelope: ranku ‘antelope’ rebus: ranku ‘tin’. 

     Text message on obverse of A1b (together with hieroglyph of an antelope looking back)

    ranku 'liquid measure' rebus: ranku 'tin'.

      kūdī, kūī ‘bunch of twigs’ (Sanskrit) Rebus: kuhi smelter furnace (Santali)  kūdī (also written as kūī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kauśika Sūtra (Bloomsfields ed.n, xliv. Cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177). 

    ·                      

    ·        

         kanka, karika 'rim of jar' rebus: karī 'supercargo, scribe, helmsman'. Thus, the text message is: tin smelter supercargo


    This alternative reading is jusfied and consistent with the hieroglyph on the text of the message which signifies ranku 'liquid measure' rebus: ranku 'tin'.


    Bagasra (Gola Dhoro) seals are wealth-accounting ledgers of metal artifacts

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    Location map. Bagasra (Gola Dhoro)

    Decipherment of Gola Dhoro seals:
    Gola Dhoro Seals and text messages

    Bagasra1 (Gola Dhoro) Decipherment presented in: 

     https://tinyurl.com/ya59vohw

    The hatchings on the sides of the seal are also hieroglyphs: khaṇḍa 'divisions' rebus: khaṇḍa 'equipment'.singhin 'forward thrusting, spiny horned' rebus: singi 'ornament gold'kondh ‘young bull’. kũdār ‘turner, brass-worker’. sangaDa 'lathe, brazier' rebus: sangAta 'collection' (of metalwork) jangada 'cargo boat, catamaran'; koTiya 'rings on neck' rebus: kotiya 'baghlah dhow, cargo boat'.kunda 'lathe' rebus: kunda 'fine gold' PLUS kamata 'portable gold furnace' rebus: kammata 'mint'.
    Text message:aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS dhakka 'lid' rebus: dhakka ' blazing, brightmetal' PLUS gaNDA 'four' rebus: khaNDa 'implements'. Thus metal implements of unsmelted metal. bhaTa 'warrior' rebus: bhaTa 'furnace' dula 'pair' rebus: dul 'metal casting' PLUS kamaTha 'bow and arrow' rebus: kammaTa 'mint, coiner, coinage'. Thus metal castings from furnace of mint. kanac 'corner' rebus; kancu 'bronze'. Thus, the seal signifies metalwork of: unsmelted metal, bronze, implements and furnace work/metal castings in a mint. 

    The socket of the Bagasra compartmented seal may have contained some square copper tablets with additional specifications of the cargo being shipped.





    Bagasra2 (Gola Dhoro) kolmo 'rice plant', kolom 'three' rebus: kolimi 'smithy,forge' PLUS kamaḍha 'bow' Rebus: kammaṭa 'mint, coiner' 

    Bagasra3 (Gola Dhoro)

    kolom 'three'rebus: kolimi 'smithy, forge'

    څرخ s̱arḵẖ 'potter's wheel' (Pashto) rebus: arka, 'gold, copper' sala 'workshop' ara 'spokes' rebus: ara 'brass'

    aya 'fish' rebus; aya 'alloy metal' PLUS khambhaā'fish-fin' rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaa id.; kammai a coiner (DEDR 1236)

    मैंद [ mainda ] m (A rude harrow or clodbreaker; or a machine to draw over a sown field, a drag. (Marathi) matyà n. ʻ club with iron points' Rebus: mẽht,med 'iron' (Mu.Ho.) med 'copper' (Slavic languages)

    bhaā'warrior' rebus: bhaā'furnace'


    bhāi karaa sāla 'furnace writers'workshop'

    The most frequently used hypertext on Indus Script Corpora is Sign 342: káraa bāī =  karaa + splinter hieroglyph = śalá m. ʻ staff ʼ TBr., ʻ dart, spear ʼ lex. [~ śará -- 1: cf. śilī -- ]S. sarī f. ʻ a stick forming part of a waterwheel ʼ; Or. saa ʻ pin, thorn ʼ; Bi. sar ʻ sticks used in setting up the warp ʼ, Mth. sarkā; H. sal m. ʻ stake, spike, splinter, thorn, difficulty ʼ; G. saī f. ʻ small thin stick ʼ, saiyɔ m. ʻ bar, rod, pricker ʼ; -- Kho. šo ʻ reed ʼ < *śōha2 -- rather than X no < naá -- .(CDIAL 12343) Rebus: śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.(CDIAL 12414)

    Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xālxāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. a ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M.  f. ʻ workshop, school ʼ; Si. sal -- aha˚ ʻ hall, market -- hall ʼ.




    Bagasra5 (Gola Dhoro)
    koḍa 'sluice'; Rebus: koḍ 'artisan's workshop (Kuwi)
    Sign 60
    ayo 'fish' rebus: ayas 'alloy metal' PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar', 'equipment'. Thus, alloy metal furnace, equipment.


    Sign 62 The split parenthesis is a hieroglyph: (lozenge) Split parenthesis: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' PLUS Pa. danta -- m. ʻ tooth, tusk ʼ; Pk. daṁta -- m. ʻ tooth, part of a mountain ʼ; Gy. eur. dand m. ʻ tooth ʼ Rebus: dhatu 'mineral ore'. Thus, mineral ore ingot PLUS ayas 'alloy metal'. Together, the reading is ayas dhatu muhã 'alloy metal ore ingot'Body, Long linear line med 'body' PLUS . kāḍ 'stature', kāṭi 'body stature rebus: khad 'iron stone' PLUS koḍa'one' rebus: ko 'workshop' 
    GD1: 
    kondh ‘young bull’. kũdā‘turner, brass-worker’. sangaDa 'lathe, brazier' rebus: sangAta 'collection' (of metalwork) koTiya 'rings on neck' rebus: kotiya 'baghlah dhow, cargo boat'. 

    aya, ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS adaren 'lid' rebus: aduru 'unsmelted metal' PLUS gaNDA 'four' rebus: khaNDa 'implements'. Thus metal implements of unsmelted metal.

    bhaTa 'warrior' rebus: bhaTa 'furnace'
    dula 'pair' rebus: dul 'metal casting' PLUS kamaTha 'bow and arrow' rebus: kammaTa 'mint, coiner, coinage'. Thus metal castings from furnace of mint.
    kanac 'corner' rebus; kancu 'bronze'. Thus, the seal signifies metalwork of: unsmelted metal, bronze, implements and furnace work/metal castings in a mint.

    GD2: 

    kondh ‘young bull’. kũdā‘turner, brass-worker’. sangaDa 'lathe, brazier' rebus: sangAta 'collection' (of metalwork) koTiya 'rings on neck' rebus: kotiya 'baghlah dhow, cargo boat'. 


    koDa 'one' rebus: koD 'workshop' PLUS dula 'two' rebus: dul 'metal casting' Thus, metal casting workshop.


    'khambhaṛā 'fish fin'rebus: kammaTa 'mint, coiner, coinage' PLUS ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' Thus, metal mint, coiner, coinage.


    badhi ‘to ligature, to bandage, to splice, to join by successive rolls of a ligature’ (Santali) batā bamboo slips (Kur.); bate = thin slips of bamboo (Malt.)(DEDR 3917). Rebus: baḍhi = worker in wood and metal (Santali) baṛae = blacksmith (Ash.)


    dhāḷ 'a slope'; 'inclination' rebus: dhALako 'ingot' PLUS kANDa 'notch' rebus: khaNDa 'implements'

    koDi 'flag' rebus: koD 'workshop' Thus, workshop for ingots, implements.

    dula 'two' rebus: dul 'metal castings' kole.l 'temple' rebus: kole.l 'smithy, forge'. 

    Thus metal castings smithy/forge.

    GD3: 


    kondh ‘young bull’. kũdā‘turner, brass-worker’. sangaDa 'lathe, brazier' rebus: sangAta 'collection' (of metalwork) koTiya 'rings on neck' rebus: kotiya 'baghlah dhow, cargo boat'. 

    kolmo 'rice plant' rebus; kolimi 'smithy, forge' PLUS kolom 'three' rebus: 
    kolimi 'smithy, forge' (Phonetic determinant)

    GD4

    kondh ‘young bull’. kũdā‘turner, brass-worker’. sangaDa 'lathe, brazier' rebus: sangAta 'collection' (of metalwork) koTiya 'rings on neck' rebus: kotiya 'baghlah dhow, cargo boat'. 

    ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS kut.ila = bent, crooked (Skt.) kut.ila (Skt. Rasaratna samuccaya, 5.205)

    kut.ila, katthi_l = bronze (8 parts copper and 2 parts tin) [cf. a_ra-ku_t.a, ‘brass’ (Skt.)] dula 'pair' rebus: dul 'metal casting'. Thus, metacasting work in bronze.

    GD5

    kondh ‘young bull’. kũdā‘turner, brass-worker’. sangaDa 'lathe, brazier' rebus: sangAta 'collection' (of metalwork) koTiya 'rings on neck' rebus: kotiya 'baghlah dhow, cargo boat'. 
    kanac 'corner' rebus: kancu 'bronze'
    dula 'two' rebus: dul 'metal casting'. Thus metal casting in bronze.
    ayo, aya 'fish' rebus: aya 'iron' ayas 'metal'
    gaNDa 'four' Rebus: khaNDa 'metal implements' aya 'fish' Rebus: aya 'iron' ayas 'metal' aDaren 'lid' Rebus: aduru 'native metal'

    GD6
    kondh ‘young bull’. kũdā‘turner, brass-worker’. sangaDa 'lathe, brazier' rebus: sangAta 'collection' (of metalwork) koTiya 'rings on neck' rebus: kotiya 'baghlah dhow, cargo boat'. 
    kolom 'three' rebus: kolimi 'smithy, forge'
    eraka 'nave of wheel' rebus: eraka 'moltencast, copper'; Ara 'spokes' rebus: arA 'brass'. Thus brass forge, smithy.
    'khambhaṛā 'fish fin'rebus: kammaTa 'mint, coiner, coinage' PLUS ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' Thus, metal mint, coiner, coinage.
    adaran 'harrow' rebus: aduru 'unsmelted metal'
    bhaTa 'warrior' rebus: bhaTa 'furnace' 
    kanka, karNaka, ' rim of jar Rebus: kanda kanka 'fire-trench account, karṇi supercargo' karNika 'helmsman, merchantman' .
    meD 'body' rebus: med 'iron' PLUS karNaka 'spread legs' rebus: karNI 'Supercargo' karNika 'engraver, account'.
    Bagasra4 (Gola Dhoro)
    dula 'two' rebus: dul 'metal casting'
    kuṭi 'warehouse'; kuṭhi 'smelter'
    Hieroglyph: dhvajapaṭa m. ʻ flag ʼ Kāv. [dhvajá -- , paṭa -- ]Pk. dhayavaḍa -- m. ʻ flag ʼ, OG. dhayavaḍa m. Rebus: 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 (CDIAL 6773)
    Te. gō̃ṭu an ornamental appendage to the border of a cloth, fringe' Rebus 1: gota (laterite, ferrite ore) Rebus 2: goṭā 'gold-braid'
    Hieroglyph: dhāḷ 'a slope'; 'inclination' rebus: ḍhālako a large metal ingot; खााडा [ kāṇḍā ] 'A jag, notch, or indentation (as upon the edge of a weapon' rebus: khaṇḍa 'equipment'
    aya 'fish' rebus; aya 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236)
    Ka. mēḍu 'height, rising ground, hillock; miṭṭu rising or high ground, hill' Rebus: mẽṛhẽt, meḍ 'iron (metal)' 
    koḍa 'one' rebus: koḍ 'workhop'PLUS ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal'.
    kaṇḍa 'arrow'; rebus: khaṇḍa 'equipment'
    Unicorn Seal from Bagasra (Gujarat), C Department of Archaeology and Ancient History, The Maharaja Sayajirao University of Baroda.

    Large square unicorn seal with perforated boss on the back. The unicorn is the most common motif on Indus seals and appears to represent a mythical animal that Greek and Roman sources trace back to the Indian subcontinent.

    A relatively long inscription of eight symbols runs along the top of the seal. The elongated body and slender arching neck is typical of unicorn figurines, as are the tail with bushy end and the bovine hooves. This figure has a triple incised line depicting a pipal leaf shaped blanket or halter, while most unicorn figures have only a double incised line. The arching horn is depicted as if spiraling or ribbed, and the jowl is incised with multiple folds.
    A collar or additional folds encircle the throat. In front of the unicorn is a ritual offering stand with droplets of water or sacred liquid along the bottom of the bowl. The top portion of the stand depicts a square grid or sieve, that actually may have been a circular cylinder.

    Ancient Indus seals and sealings found at Gola Dhoro, Begasra.


    Copper knives with bone handles, Gola Dhoro


    Indus Valley copper artifacts found at Gola Dhoro.

    Indus Script hieroglyphs rhinoceros + bracketed black drongo + fish on 8 sides of 4 Mohenjo-daro tablets signify steel metalware

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     https://tinyurl.com/yc2hzz8l
    Text 2854 m446

    This is the text message on both sides of the four tablets:

    Sign 63 = Sign59 PLUS Sign 78 PLUS split parenthesis (as on Sign 62)
    పోలడు pōlau 'steel' PLUS ayas 'alloy metal' PLUS muhã 'ingot' (with primacy of steel alloy component)
    Sign 64 = Variant of Sign 63 (with primacy of alloy metal component

    See:  https://tinyurl.com/ydbb284f

    Field symbol: Rhinoceros

    gaṇḍá
    4 m. ʻ rhinoceros ʼ lex., ˚aka -- m. lex. 2. *ga- yaṇḍa -- . [Prob. of same non -- Aryan origin as khaḍgá -- 1: cf. gaṇōtsāha -- m. lex. as a Sanskritized form ← Mu. PMWS 138]
    1. Pa. gaṇḍaka -- m., Pk. gaṁḍaya -- m., A. gãr, Or. gaṇḍā.
    2. K. gö̃ḍ m., S. geṇḍo m. (lw. with g -- ), P. gaĩḍā m., ˚ḍī f., N. gaĩṛo, H. gaĩṛā m., G. gẽḍɔ m., ˚ḍī f., M. gẽḍā m.
    Addenda: gaṇḍa -- 4. 2. *gayaṇḍa -- : WPah.kṭg. geṇḍɔ mirg m. ʻ rhinoceros ʼ, Md. genḍā ← H. (CDIAL 4000)


    gaṇḍa 'rhinoceros'; Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (Gujarati) 



    Thus, the field symbol + text message signify: pōlaṇḍa ‘steel metalware’.




    m2017A, m2017B







    m2018A

    m2018B
    m446A

    m446B

    m447A

    m447B
    Black Drongo (Dicrurus macrocercus) IMG 7702 (1)..JPGA Black drongo in Rajasthan state, northern India https://en.wikipedia.org/wiki/Black_drongo
    Black drongo is pōlaḍu, rebus pōlaḍ  'steel'పసులపోలిగాడు pasula-pōli-gāḍu perched on pōḷa 'zebu, bos indicus' Rebus: pōḷa 'magnetite ore'.
     

    Nausharo pots. zebu PLUS black drongo.Image result for black drongo zebuModern photograph of black drongo perched on the hump of a zebu bovine.

    Indus Script hieroglyphs kola bhaṭa kaṇ-vaṭṭa 'woman, six locks,one-eyed' Meluhha rebus: kola bhaṭa kammaṭa 'working in iron, furnace, mint'

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    https://tinyurl.com/yd96myhs

    -- the narratives on Indus Script seals are details of mine-work, metalwork with gold, copper, iron stone ore, furnaces, mint
    -- kāṇá ʻ one -- eyed ʼ RV Rebus: khan 'mine'
    -- me 'body' rebus: me 'iron'; kāḍ tsarkh 'stature, wheel' rebus: 'khad 'iron stone' arkasala 'goldsmith workshop'

    kāṇá ʻ one -- eyed ʼ RV.Pa. Pk. kāṇa -- ʻ blind of one eye, blind ʼ; Ash. kã̄ṛa˚ṛī f. ʻ blind ʼ, Kt. kãŕ, Wg. ãmacrdotdot; Pr. &schwatildemacr; Tir. kāˊna, Kho. kāṇu NTS ii 260, kánu BelvalkarVol 91; K. kônu ʻ one -- eyed ʼ, S. kāṇo, L. P. kāṇã̄; WPah. rudh. śeu. kāṇā ʻ blind ʼ; Ku. kāṇo, gng. &rtodtilde; ʻ blind of one eye ʼ, N. kānu; A. kanā ʻ blind ʼ; B. kāṇā ʻ one -- eyed, blind ʼ; Or. kaṇā, f. kāṇī ʻ one -- eyed ʼ, Mth. kān˚nākanahā, Bhoj. kān, f. ˚nikanwā m. ʻ one -- eyed man ʼ, H. kān˚nā, G. kāṇũ; M. kāṇā ʻ one -- eyed, squint -- eyed ʼ; Si. kaṇa ʻ one -- eyed, blind ʼ. -- Pk. kāṇa -- ʻ full of holes ʼ, G. kāṇũ ʻ full of holes ʼ, n. ʻ hole ʼ (< ʻ empty eyehole ʼ? Cf. ã̄dhḷũ n. ʻ hole ʼ < andhala -- ).*kāṇiya -- ; *kāṇākṣa -- .Addenda: kāṇá -- : S.kcch. kāṇī f.adj. ʻ one -- eyed ʼ; WPah.kṭg. kaṇɔ ʻ blind in one eye ʼ, J. kāṇā; Md. kanu ʻ blind ʼ.(CDIAL 3019)Ta. kāṇ (kāṇp-, kaṇṭ-) to see, consider, investigate, appear, become visible; n. sight, beauty; kāṇkai knowledge; kāṇpu seeing, sight; kāṭci sight, vision of a deity, view, appearance; kāṇikkai voluntary offering, gift to a temple, church, guru or other great person; kāṭṭu (kāṭṭi-) to show; n. showing; kaṇṇu (kaṇṇi-) to purpose, think, consider; kaṇ-kāṭci gratifying spectacle, exhibition, object of curiosity. Ma. kāṇuka to see, observe, consider, seem; kāṇi visitor, spectator; kāṇikka to show, point out; n. offering, present; kāṭṭuka to show, exhibit; kār̤ca, kār̤ma eyesight, offering, show, spectacle. Ko. kaṇ-/ka·ṇ- (kaḍ-) to see; ka·ṭ- (ka·c-) to show; kaḍ aṯ- (ac-), kaḍ ayr- (arc-) to find out; ka·ṇky payment of vow to god; kaŋga·c wonderful sight such as never seen before. To. ko·ṇ- (koḍ-) to see; ko·ṭ- (ko·ṭy-) to show; ko·ṇky offering to Hindu temple or to Kurumba; koṇy act of foretelling or of telling the past. Ka. kāṇ (kaṇḍ-) to see, appear; n. seeing, appearing; kāṇike, kāṇke sight, vision, present, gift; kāṇuvike seeing, appearing; kāṇisu to show, show oneself, appear; kaṇi sight, spectacle, ominous sight, divination. Koḍ. ka·ṇ- (ka·mb-, kaṇḍ-) to see; seem, look (so-and-so); ka·ṭ- (ka·ṭi-) to show. Tu. kāṇůsāvuni, kāṇisāvuni to show, represent, mention; kāṇikè, kāṇigè present to a superior. Te. kanu (allomorph kān-), kāncu to see; kānupu seeing, sight; kānipincu to appear, seem; show; kānuka gift offered to a superior, present, tribute; kaṇṭãbaḍu to appear, be seen, come in view; kanukali seeing, sight. Kol. kanḍt, kanḍakt seen, visible. Nk. kank er- to appear (< *kanḍk or the like). Pa. kanḍp- (kanḍt-) to look for, seek. Ga. (Oll.) kanḍp- (kanḍt-) to search. Kur. xannā to be pleasant to the eye, be of good effect, suit well. Br. xaning to see.  (DEDR 1443)

    Rebus: kāṇḍa, khaṇḍa 'implements' (Gujarati. Santali) 


    khaní ʻ digging up ʼ AV., f. ʻ mine ʼ VarBr̥S. 2. X gúhā -- 1. [√khan]1. Pk. khaṇi -- f. ʻ mine ʼ; NiDoc. kheni ʻ pit ʼ; A. khani ʻ mine ʼ; Or. khaṇi ʻ large pit for storing paddy ʼ, khaṇā ʻ large and deep pit, trench ʼ; H. khan m. ʻ mine ʼ, khanī f. ʻ pit in which husked rice or other grain is kept ʼ; M. khaṇ f. ʻ mine, quarry ʼ.2. Sh. (Lor.) khōhkho ʻ cave, shelter of overhanging cliff ʼ; P. khoh f. ʻ hole, cavern, pit ʼ; OAw. khoha ʻ cave ʼ; H. khohkhokhau f. ʻ hole, pit, cave ʼ; G. kho f. ʻ cave ʼ.(CDIAL 3813)khātá ʻ dug up ʼ RV., n. ʻ ditch, pond ʼ ŚBr., ˚aka -- n. Bhpr. 2. khātikā -- f. ʻ ditch ʼ, ˚tā -- f. ʻ pond ʼ lex. [√khan]1. Pa. khāta -- ʻ dug ʼ; Pk. khāa -- ʻ dug ʼ, n. ʻ ditch, bank ʼ; NiDoc. khade˚dao ʻ dug ʼ; Kho. khar ʻ plot of cultivated ground ʼ; L. P. khāvā m. ʻ salt mine ʼ(CDIAL 3862)khāˊtra n. ʻ hole ʼ HPariś., ʻ pond, spade ʼ Uṇ. [√khan]Pk. khatta -- n. ʻ hole, manure ʼ, ˚aya -- m. ʻ one who digs in a field ʼ; S. khāṭru m. ʻ mine made by burglars ʼ, ˚ṭro m. ʻ fissure, pit, gutter made by rain ʼ; P. khāt m. ʻ pit, manure ʼ, khāttā m. ʻ grain pit ʼ, ludh. khattā m. (→ H. khattā m., khatiyā f.); N. khāt ʻ heap (of stones, wood or corn) ʼ; B. khātkhātṛū ʻ pit, pond ʼ; Or. khāta ʻ pit ʼ, ˚tā ʻ artificial pond ʼ; Bi. khātā ʻ hole, gutter, grain pit, notch (on beam and yoke of plough) ʼ, khattā ʻ grain pit, boundary ditch ʼ; Mth. khātākhattā ʻ hole, ditch ʼ; H. khāt m. ʻ ditch, well ʼ, f. ʻ manure ʼ, khātā m. ʻ grain pit ʼ; G. khātar n. ʻ housebreaking, house sweeping, manure ʼ, khātriyũ n. ʻ tool used in housebreaking ʼ (→ M. khātar f. ʻ hole in a wall ʼ, khātrā m. ʻ hole, manure ʼ, khātryā m. ʻ housebreaker ʼ); M. khā̆t n.m. ʻ manure ʼ (deriv. khatāviṇẽ ʻ to manure ʼ, khāterẽ n. ʻ muck pit ʼ). -- Unexpl.  in L. khāṭvã̄ m. ʻ excavated pond ʼ, khāṭī f. ʻ digging to clear or excavate a canal ʼ (~ S. khātī f. ʻ id. ʼ, but khāṭyāro m. ʻ one employed to measure canal work ʼ) and khaṭṭaṇ ʻ to dig ʼ.(CDIAL 3863)

    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)
    File:Outstretched arms.jpg
    Indus Script seals show a one-eyed person with outstretched arms, holding back jackals/tigers

    This is a classic example of hieroglyph narratives on Indus Script. Outstretched arms are a measure of stature. In Meluhha the word and rebus reading is: kāḍ 'stature', kāṭi 'body stature rebus: khad 'iron stone'. One eye and circle signifies: கண்வட்டம் kaṇ-vaṭṭam , n. < id. +. 1. Range of vision, eye-sweep, full reach of one's observation; கண்பார்வைக்குட்பட்ட இடம். தங்கள் கண்வட்டத்திலே உண்டுடுத்துத்திரிகிற (ஈடு, 3, 5, 2). 2. Mint; நாணயசாலை. கண்வட்டக்கள்ளன் (ஈடு.).Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236). kola 'tiger, jackal' rebus: kol 'working in iron'. Thus, the narrative signifies iron mint. karibha, ibha, 'elephant' rebus: karba, ib 'iron' tsarkh 'potter's wheel' (Pashto) rebus: arkasala 'gold, coppersmith workshop'.

    Ta. kaṉ copper work, copper, workmanship; kaṉṉāṉ brazier. Ma. kannān id.(DEDR 1402)

    Six locks of hair: baṭa 'six' rebus: baṭa 'iron' (Gujarati); bhaṭa 'furnace'

    Woman: kola 'woman' rebus: kol 'working in iron' [Semantic determinative of kāṇá ʻ one -- eyed (Rgveda) rebus: kan 'copperwork']

    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)

    krōṣṭŕ̊ ʻ crying ʼ BhP., m. ʻ jackal ʼ RV. = krṓṣṭu -- m. Pāṇ. [√kruś]
    Pa. koṭṭhu -- , ˚uka -- and kotthu -- , ˚uka -- m. ʻ jackal ʼ, Pk. koṭṭhu -- m.; Si. koṭa ʻ jackal ʼ, koṭiya ʻ leopard ʼ GS 42; -- Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H. kolhā˚lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ˚lũ n. ʻ jackal ʼ, M. kolhā˚lā m.(CDIAL 3615) The common spoken form of Meluhha word is kola Rebus: kol 'working in iron, blacksmith', kolhe 'smelter'

    https://commons.wikimedia.org/wiki/File:Outstretched_arms.jpg

     

    Ahicchatra ziggurat is a temple for S'iva linga; architecture compares with Mohenjo-daro, Ur and Sit-Shamshi bronze ziggurat

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    https://tinyurl.com/ycflkdb4

    The key expression is dhatugarbha, 'womb of minerals'.The early ziggurat as a temple is a veneration of Mother Earth which is a womb of minerals.

    Dhātu (f.) [Sk. dhātu to dadhāti, Idg. *dhē, cp. Gr. ti/qhmi, a)na/ -- qhma, Sk. dhāman, dhāṭr (=Lat. conditor); Goth. gadēds; Ohg. tāt, tuom (in meaning -- ˚=dhātu, cp. E. serf -- dom "condition of . . .") tuon=E. to do; & with k -- suffix Lat. facio, Gr. (e)/)qhk(a), Sk. dhāka; see also dhamma] element...-- ghara "house for a relic," a dagoba SnA 194. -- cetiya a shrine over a relic DhA iii.29 (Pali) දාගැබ් (dagoba) (Sinhala) धातु--गर्भ (with Buddh. ) receptacle for ashes or relics , a Dagaba or Dagoba (Sinhalese corruption of पालि Dhatu-gabbha)(Monier-Williams). 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) gárbha m. ʻ womb, foetus, offspring ʼ RV., ʻ inside, middle ʼ MBh.Pa. Pk. gabbha -- m. ʻ womb, foetus, interior ʼ; NiDoc. garbha ʻ foetus ʼ; K. gab m. ʻ womb, sprout of a plant ʼ; S. g̠abhu m. ʻ foetus, kernel, pith ʼ; L. gabbhā m. ʻ young calf ʼ, (Ju.) g̠abh m. ʻ foetus ʼ; P. gabbh m. ʻ foetus ʼ, gabbhā m. ʻ vulva, interior ʼ; Ku. gāb ʻ foetus ʼ, gng. ʻ sprout ʼ; N. gābh ʻ secret ʼ, gābho ʻ core, inside (e.g. of a fruit) ʼ; B. gāb ʻ foetus ʼ, gāb(h)ā ʻ foetus, spathe of a plant, river -- bed ʼ(CDIAL 4055)

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    S'ivalinga atop Ahicchatra ziggurat has three parts: Brahma Bhaga (quadrangular), Vishnu Bhaga (octagonal) Rudra Bhaga (cylindrical)
     Piprahwa stupa. One of the earliest to be built. Piprahwa, Uttar Prades', is 12 miles from Lumbini, birthplace of the Buddha. Piprahwa vase with relics of the Buddha. 
    Portion of the Piprahwa vase inscription. The inscription reads ...𑀲𑀮𑀺𑀮𑀦𑀺𑀥𑀸𑀦𑁂 𑀩𑀼𑀥𑀲 𑀪𑀕𑀯𑀢𑁂... ...salilanidhane Budhasa Bhagavate... "Relics of the Buddha Lord" (Brahmi script).
    Image






    Ahichhatra temple of S'iva linga. Ancient Terraced Temple in Ahhichhatra अहिच्छत्र or what was then the capital of North पांचाल.Now in Bareilly dist.
    Source for some images: https://mail.google.com/mail/u/0/?tab=wm#inbox/WhctKJVrBBFJCKttkQZWBnqSgTJxhrnMLMTrWZstmqcJgSNXbHdwLPqvQVcPpDWTkskMQgB
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    Seal depicting a temple from Kausambi, compares with Ahicchatra temple.
    Image
    Image
    Kesaria Stupa a little known but important Archeological site, Bihar Dated: ~3rd century CE

    Some images of Mohenjo-daro ziggurat
    Bharatkalyan97: Itihāsa. Tracing roots of Meluhha and Sumerian ...kalyan97 on Twitter: "Did ziggurat influence ancient Indian ...
    Buddhist Stupa or Indus Temple? | ScienceMohenjo-daro stupa & Great Bath - Modeled after Ziggurat and Sit ...Mohenjo Daro Stock Photos & Mohenjo Daro Stock Images - AlamyThe Indus Valley Civilization - Mohenjo Daro, Harappan Culture ...Ancient CivilizationsBharatkalyan97: What did the Meluhhans seal using Indus Script?Bharatkalyan97: Itihāsa. Tracing roots of Meluhha and Sumerian ...No Golden Tombs, No Fancy Ziggurats | Discovering PakistanZiggurat. Mohenjo-daro

    Ziggurat of Ur | Andrew Craft | Ancient temples, Ziggurat, Story ...Ziggurat of Ur
    Mohenjo-daro stupa & Great Bath - Modeled after Ziggurat and Sit ...Mohenjo-daro stupa & Great Bath - Modeled after Ziggurat and Sit ...Sit Shamshi | Louvre Museum | ParisZiggurat of Sit-Shamshi Bronze

    Seven identical seal impressions of Kalibangan, k69 to k75 relate to metalcasting mint work in arkaśālā 'goldsmith workshops'

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    Decipherment:

    Text message:
    Text of the identical message on 7 Kalibangan seal impressions
     Pair of standing persons: dula 'pair' rebus: dul 'metal casting' PLUS  kāḍ 'stature', kāṭi 'body stature rebus: khad 'iron stone'; meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic); कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs' Rebus: karaṇi 'supercargo'; karṇika कर्णिक 'having a helm, a steersman'. Thus, iron metal casting (of) supercargo, helmsman

    Pair of 'twelve strokes': dula 'pair' rebus: dul 'metal casting' PLUS arka 'twelve' rebus: arka 'copper, gold' PLUS eraka 'metal infusion'. This together with the next hieroglyph of 'splinter' reads:arkasala 'goldsmith workshop'.




     Hieroglyph: splinter: sal 'splinter' rebus: sal 'workshop' śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xālxāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M. sāḷ f. ʻ workshop, school ʼ; Si. sal -- aha˚ ʻ hall, market -- hall ʼ.(CDIAL 12414)

    Pair of  'rude harrows' :dula 'pair' rebus: dul 'metal casting' PLUS maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'(Santali.Mu.Ho.)

    Pair of 'bows': dula 'pair' rebus: dul 'metal casting' PLUS kamaḍha 'bow' Rebus: kammaṭa 'mint, coiner' 

    Field symbol is one-horned young bull as the forward-thrusting spiny horn is clearly visible on all the seven seal impressions.


    Field symbol: 


    singhin 'forward-thrusting, spiny horned' rebus: singi 'ornament gold';  khōṇḍa young bull-calf .  rebus: konda 'kiln' kunda 'fine gold'.


    k69

    k70

    k71

    k72

    k73

    k74

    k75

    निकले भगवान् ||| Five-foot शिवलिंग discovered at Ayodhya during construction work. See the शिवलिंग with Brahma, Vishnu, Rudra भाग

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    राम जन्मभूमि परिसर के समतलीकरण का काम चल रहा है. इस दौरान कई पुरातात्विक मूर्तियां, खंभे और शिवलिंग मिलने का दावा किया गया है.. श्री रामजन्मभूमि तीर्थ क्षेत्र के महामंत्री चम्पत राय ने कहा कि मलबा हटाने के दौरान कई मूर्तियां और एक बड़ा शिवलिंग मिला है.

     -  May 21 2020, 11:15 am,Ayodhya Ram Janmabhoomi: Five-Foot Shivaling, Broken Idols, Carved Pillars Discovered During Construction Work 


    In a major development, a five-foot Shivaling, seven pillars of black touchstone, six pillars of red sandstone and broken idols of Devi-Devtas were found at Ayodhya Ram Janmabhoomi temple site, reports Republic World.
    The development was made public by Champat Rai, General Secy, Sri Ram Janmabhoomi Tirth Kshetra Trust, Ayodhya, who said that since past 10 days, debris is being removed and land being levelled at the site. It was during this process that pillar and other structures were discovered.
    Shri Ram Janmabhoomi Teerth Kshetra tweeted, “The work started on May 11, 2020. Since then many objects have been discovered during excavation. It include many objects of archaeological importance like flowers made of stone, Kalash, Aamalak, Dorjamb etc.”
    The findings hold significance as the presence of a temple beneath the overground structures was a bone of contention for decades and was later resolved by the Supreme Court of the country.
    It should be noted that ASI findings had stated that there were remains of an ancient temple beneath the site where the Babri Masjid was erected.
    https://swarajyamag.com/insta/ayodhya-ram-janmabhoomi-five-foot-shivaling-broken-idols-carved-pillars-discovered-during-construction-work




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    EVIDENCE OF EXISTANCE OF RAM MANDIR AT AYODHYA DURING RAM MANDIR RECONSTRUCTION 

    EVIDENCE OF EXISTANCE OF RAM MANDIR AT AYODHYA DURING RAM MANDIR RECONSTRUCTION 


    Ayodhya: Carved stone pillars, Hindu sculptures, broken idols and a Shivling excavated during Ram Mandir construction work.

    Ayodhya: Carved stone pillars, Hindu sculptures, broken idols and a Shivling excavated during Ram Mandir construction work

    During the excavation carried out for the construction works for the temple in the Ram Janmabhoomi in Ayodhya, the remains of Hindu stone sculptures, including a Shivling, broken-idols of Hindu deities, and carved pillars have been found near the site.
    According to Shri Ram Janmabhoomi Teerth Kshetra, as the work for levelling of land and removal of the gangway in Shri Ramjanmabhumi Complex was resumed on Wednesday after the coronavirus lockdown, the workers at the site unearthed the remains of pillars adorned with old Hindu carvings, likely of a temple during the excavation.

    The objects included various archaeological artefacts and stone pillars with carvings of flowers, Kalash, Aamalak, etc, said Shri Ram Janmabhoomi Teerth Kshetra trust.


    Shri Champat Rai, General Secretary of the trust said that during the excavation, a 5 feet Shivaling, 7 carved pillars of Black touchstone, 6 carved pillars of red sandstone and broken idols of Hindu gods were also found. The trust said that the work is still continuing at a slow pace due to the restrictions.


    The findings will further testify the presence of Hindu temples beneath the overground structures, which was a bone of contention for decades and was later resolved by the Supreme Court of the country. ASI findings had stated that there were remains of an ancient temple beneath the site where the Babri Masjid was erected.


    On Tuesday, the Uttar Pradesh government had allowed construction activity to resume the work on clearing up the site of Ram temple construction in Ayodhya, which was stopped due to coronavirus lockdown.

    The first phase of construction had earlier begun on March 25, when the Uttar Pradesh CM Yogi Adityanath had then gone to Ayodhya and participated in the “Pran-Pratishtha” rituals with saints and seers in Ayodhya city. He had also taken part in the ritual for shifting of the Ram Lalla idol to the new makeshift structure on March 2, just a day before Navratri.



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