National Water Grid will create 10 crore jobs immediately in every district, every village. We have to construct over 40,000 kms. of canal and 40,000 kms. of pipeline systems to reach 24x7 water to every farm and every home. It will be revolution and beat the global Corona Virus depression and place Bharatam on a 10% rate of growth in GDP.
Move Ganga sacred waters to Kaveri Kanyakumari.
Move Brahmaputra flood waters to Kanyakumari thru Manas-Sankosh-Teesta-Ganga link Farakka Subarnarekha Mahanadi Godavari Kaveri Kanyakumari.
Desalination coastline BARC barges. BARC desalination nuclear plants shlould move all along the 8000 km long coastline of Bharat, for converting seawater to drinking water to ensure 24x7 water to every farm and every home in Bharata Nal-se-Jal National Mission.
This monograph posits a thesis that colonnade platforms of the Great Bath were part of the metal products warehouse complex surrounding the Great Bath. These platforms would have been used to cool and clean the metal products during the documentation of the product details by the Indus Script scribes. Each platform of the colonnades would have held metal products of specific types as detailed in the decipherment of over 205 copper tablet inscriptions in three categories A,B,C.
Finds of large numbers of copper tablets in Mohenjo-daro from Great Bath area confirm use of nearby warehouses for products from copper ore smelters, furnaces.
The Great Bath is situated along a north-south street with a drain covered with limestone blocks. In the background is the so-called Granary, while in the foreground are the walls of several domestic structures. I suggest that these domestic structures were part of the bhāṭi karaṇa sāla 'furnace writers' workshops.'
This monograph rejects John Marshall's identification of Great Bath as a hydropathic establishment. "The Great Bath, which I have reserved to the last, was part of what appears to have been a vast hydropathic establishment and the most imposing of all the remains unearthed at Mohenjo-daro." (Marshall, Vol. I, p. 24).
I submit that Great Bath and the colonnades surrounding the vast area are part of the metal products warehouse complex and was used by scribes of bhāṭi karaṇa sāla 'furnace writers' workshops.'
The colonnades surrounding the Great Bath constitute platforms to hold the metal products and taken into the Great Bath reservoir for cooling and cleaning the metal products before the documentation is done on copper plates (205 copper plate inscriptions summarised and presented below, thanks to Asko Parpola).
Using Indus Script Corpora to re-evaluate form and functions of Ziggurat शिखर (stupa) temple, college of priests and Sacred पुष्करिणी of Mohenjo-daro https://tinyurl.com/ujjchzb
Ute Franke-Vogt has presented a balanced analytical framework to draw infernces from a review of 2927 objects from Mohenjo-daro with Indus Script inscriptions. In my view, the most significant inference is related to "overproportionally high concentration of copper tablets in the Great Bath and in Block C of the L area (p.149f.)" This indicates that Great Bath was associated with 'metalwork' which created the copper tablets. This indication confirms the analysis made in the two monographs cited that the Great Bath of Mohenjo-daro was associated with the metallurgical processes with the drains out of the Great Bath used to carry away slag from copper ore smelters, furnaces, as surmised in:
Mystery of the Great Bath of Mohenjo-daro: Reservoir with water channels to carry away slag from ore smelters, furnaces https://tinyurl.com/vpk6hut
I submit that the thesis of Ute Franke-Vogt confirms that finds of large numbers of copper tablets in Mohenjo-daro from Great Bath area; and that such finds confirm use of nearby copper ore smelters, furnaces. The drains out of the Great Bath were used to carry away slag from such furnaces used to work with inscribing on copper tablets.
The Great Bath, as seen from the south-west
Great Bath and Granary, SD Area
Mohenjo-daro tablet m411 bhāṭi karaṇa sāla 'furnace writers' workshop' documents pōlaḍu 'black drongo' rebus poladu 'steel' and other metalwork products
pōlaḍu 'black drongo' (Telugu) rebus: poladu 'steel' poladu 'steel' पोलाद pōlāda n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad 'steel, flint and steel for making fire' (Amharic); fUlAd 'steel' (Arabic) pōlāda 'steel', pwlad (Russian), fuladh (Persian) folādī (Pashto) Bulat steel blade of a knife.
kolom 'three' rebus: kolimi 'smithy, forge'
Sign 344 is Sign 342 bhāṭi 'pot' karaṇa 'rim', i.e. 'rim of jar' rebus: bhāṭi karaṇa + sal 'splinter' rebus: sal 'workshop'. Thus the expression of Sign 344 is: bhāṭi karaṇa sāla 'furnace writers' workshop'.
Sign 67 This is a hypertext, ligaturing 'fish-fin' to 'fish' Sign 59 hieroglyph: khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner,coinage' PLUS Sign 59aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, Sign 67 signifies alloy metal mint.
karã̄ n. pl.wristlets, banglesRebus: khãr 'blacksmith, iron worker'
kolmo 'rice plant' rebus; kolimi 'smithy, forge'.
On पोलाद pōlāda 'steel'
"Bulat is a type of steel alloy known in Russia from medieval times; regularly being mentioned in Russian legends as the material of choice for cold steel. The name булат is a Russian transliteration of the Persian word fulad, meaning steel. This type of steel was used by the armies of nomadic peoples. Bulat steel was the main type of steel used for swords in the armies of Genghis Khan, the great emperor of the Mongolian Empire. The technique used in making wootz steel has been lost for centuries and the bulat steel used today makes use of a more recently developed technique...Carbon steel consists of two components: pure iron, in the form of ferrite, and cementite or iron carbide, a compound of iron and carbon. Cementite is very hard and brittle; its hardness is about 640 by the Brinell hardness test, whereas ferrite is only 200. The amount of the carbon and the cooling regimen determine the crystalline and chemical composition of the final steel. In bulat, the slow cooling process allowed the cementite to precipitate as micro particles in between ferrite crystals and arrange in random patterns. The color of the carbide is dark while steel is grey. This mixture is what leads to the famous patterning of Damascus steel.Cementite is essentially a ceramic, which accounts for the sharpness of the Damascus (and bulat) steel. "
https://en.wikipedia.org/wiki/Bulat_steel "In the Muslim world of the 9th-12th centuries CE, the production of fuladh, a Persian word, has been described by Al-Kindi, Al-Biruni and Al-Tarsusi, from narm-ahanand shaburqan, two other Persian words representing iron products obtained by direct reduction of the ore. Ahan means iron. Narm-ahan is a soft iron and shaburqan a harder one or able to be quench-hardened. Old nails and horse-shoes were also used as base for fuladh preparation. It must be noticed that, according to Hammer- Purgstall, there was no Arab word for steel, which explain the use of Persian words. Fuladh prepared by melting in small crucibles can be considered as a steel in our modem classification, due to its properties (hardness, quench hardened ability, etc.). The word fuladh means "the purified" as explained by Al-Kindi. This word can be found as puladh, for instance in Chardin (1711 AD) who called this product; poulad jauherder, acier onde, which means "watering steel", a characteristic of what was called Damascene steel in Europe."
... ‘…’pulad’ of Central Asia. The oasis of Merv where crucible steel was also made by the medieval period lies in this region. The term ‘pulad’ appears in Avesta, the holy book of Zoroastrianism and in a Manicheen text of Chinese Turkestan. There are many variations of this term ranging from the Persian ‘polad’, the Mongolian ‘bolat’ and ‘tchechene’, the Russian ‘bulat’, the Ukrainian and Armenian ‘potovat’, Turkish and Arab ‘fulad’, ‘farlad’ in Urdu and ‘phaulad’ in Hindi. It is this bewildering variety of descriptions that was used in the past that makes a study of this subject so challenging.’ (p.30)
This name derives from the Mongolian (Qalq-a ayalγu) “Bold”, from the Persian (Tājīk) "pwlạd", meaning “steel”. Bolad († 1313), was a Mongol minister of the Yuan Dynasty, and later served in the Ilkhanate as the representative of the Great Khan of the Mongol Empire and cultural adviser to the Ilkhans. Geographical spread:
-- khōṇḍa 'young bull' rebus koṇḍa, kuṇḍa, kō̃da 'sacred fire-altar; live coals in a pit'.
This monograph demonstrates that अग्नि-कुण्ड is documented on thousands of Indus Script inscriptions by demonstrating that the 'unicorn' has a bovine hieroglyph component which signifies khōṇḍa'young bull' rebus:koṇḍa'live coals in a pit'. A ligatured hieroglyph to this young bull is: singhin'forward-thrusting, spiny horned' rebus: singi'ornament gold'; thus the khōṇḍa singi'unicorn' signifies a sacred fire-altar for ornament gold. Scores of Indus Script inscriptions signify अग्नि-कुण्ड as a + hieroglyph.
अग्नि--कुण्ड is a pan with live coals (रामायण); a hole or enclosed space for the consecrated fire(कथासरित्सागर);सर्व्वाधिकारिकं कुण्डंचतुरस्रन्तुसर्व्वदम्” ।चतुरस्रंचतुष्कोणम्॥Thus, generally, कुण्डं is a 'four-cornered' structure. Such a structure is called khoṇḍ'square'
(Santali)
Thousands of Indus Script inscriptions detail such an अग्नि--कुण्ड using a hieroglyph component in a hypertext called 'forward-thrusting, spiny horned young bull'.
The sacred fire-altar is signified by the hieroglyph of the bovine, khōṇḍa'young bull'. The rebus readings with variant Meluhha sprachbund pronunciations are:
Set 1:
(Kannada) కుండముkunḍamu. [Skt.] n. An earthen pot. A pit or pot for receiving and preserving consecrated fire. A fire pit నిప్పులగుండము.
Set 2:
kō̃daकोँद।कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल्।कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñü --खस॑ञू॒।कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used. (Kashmiri) kọ̆nḍuक्वं॑डु॒or konḍu 1कं॑डु॒।कुण्डम् m. a large bowl or basin, a cauldron for cooking or other use (cf. liwan-kọ̆nḍu, s.v. liwun; maĩzi-ko, s.v. maĩz); (amongst Hindūs) a hole dug in the ground for receiving consecrated fire; i.q. kŏnḍ, q.v. -kās -कास्।कार्यसमाप्तिपूर्वकोऽवकाशः m. 'removal of the (dirty) pots and pans after a feast'; hence, leisure after the completion of a work (Kashmiri)
Ta. kuṭṭam depth, pond; kuṭṭai pool, small pond; kuṇṭam deep cavity, pit, pool; kuṇṭu depth, hollow, pond, manure-pit. Ma. kuṇṭam, kuṇṭu what is hollow and deep, hole, pit. Ka. kuṇḍa, koṇḍa, kuṇṭe pit, pool, pond; guṇḍa hollowness and deepness; guṇḍi hole, pit, hollow, pit of the stomach; guṇḍige pit of the stomach; guṇḍitu, guṇḍittu that is deep; guṇpu, gumpu, gumbu depth, profundity, solemnity, secrecy. Koḍ. kuṇḍï pit; kuṇḍitere manure-pit. Tu. kuṇḍa a pit; koṇḍa pit, hole; guṇḍi abyss, gulf, great depth; gumpu secret, concealed. Te. kuṇṭa, guṇṭa pond, pit; kuṇḍu cistern; guṇḍamu fire-pit; (Inscr.) a hollow or pit in the dry bed of a stream; gunta pit, hollow, depression. Kol. (Pat., p. 115) gunḍi deep. Nk. ghuṇḍik id. Pa. guṭṭa pool. Go. (A.) kunṭa id. (Voc. 737). Konḍa guṭa pit, hollow in the ground. Kui kuṭṭ a large pit (Chandrasekhar, Trans. Linguistic Circle Delhi 1958, p. 2). Kuwi (S.) guntomi pit; (Isr.) kuṇḍi pond. Cf. 1818 Ta. kur̤al and 2082 Kur. xoṇḍxā. / Cf. Skt. kuṇḍa- round hole in ground (for water or sacred fire), pit, well, spring.(DEDR 1669)
kuṇḍá1 n. (RV. in cmpd.) ʻ bowl, waterpot ʼ KātyŚr., ʻ basin of water, pit ʼ MBh. Pk. kuṁḍa -- , koṁ˚ n. ʻ pot, pool ʼ, L. kunnã̄ m. ʻ tub, well ʼ, WPah. cam. kuṇḍ ʻ pool ʼ, bhal. kunnu n. ʻ cistern for washing clothes in ʼ; H. kū̃ḍ f. ʻ tub ʼ, kū̃ṛā m. ʻ small tub ʼ, G. kũḍ m. ʻ basin ʼ, kũḍī f. ʻ water jar ʼ; M. kũḍ n. ʻ pool, well ʼ, kũḍā m. ʻ large openmouthed jar ʼ, ˚ḍī f. ʻ small do. ʼ; Si. ken̆ḍiya, keḍ˚ ʻ pot, drinking vessel ʼ.
2. H. gõṛā m. ʻ reservoir used in irrigation ʼ.Addenda:WPah.kṭg. kv́ṇḍh m. ʻ pit or vessel used for an oblation with fire into which barley etc. is thrown ʼ; J. kũḍ m. ʻ pool, deep hole in a stream ʼ(CDIAL 3264)
कुण्डa vessel for coals R. v , 10 , 16 &c; n. [अस्m.L. ] , a bowl-shaped vessel , basin , bowl , pitcher , pot , water-pot Ka1tyS3r. MBh.; a round hole in the ground (for receiving and preserving water or fire cf.अग्नि-कुण्ड) , pit , well , spring or basin of water (especially consecrated to some holy purpose or person)MBh. R.(MKonier-Williams)
कुण्डःkuṇḍaḥ, कुण्डीkuṇḍī, कुण्डम्kuṇḍam [cf. Uṇ.1.112] 1 A bowl-shaped vessel, a basin, bowl. -2 A round hole in the ground for receiving and preserving water. बलंनागसहस्रस्ययस्मिन्कुण्डेप्रतिष्ठितम् Mb.1.128.68. -3 A hole in general; अग्निकुण्डम्. -4 A pool, well; especially one consecrated to some deity or holy purpose. -5 The bowl of a mendicant. -6 A water-jar (कमण्डलु). -डः (-डाf.) A son born in adultery, the son of a woman by a man other than her husband while the husband is alive; पत्यौजीवतिकुण्डःस्यात् Ms.3.174; Y.1.22. -ण्डा An epithet of Durgā. -Comp. -आशिन्m. a pander, pimp, one who depends for his livelihood on a कुण्डi. e. a bastard, or adulterine; अमृतेजारजःकुण्डोमृतेभर्तरिगोलकः।यस्तयो- रन्नमश्नातिसकुण्डाशीतिकथ्यते॥ Deval Smṛiti; Ms.3.158; Y.1.224. -ऊधस् (कुण्डोध्नी P.V.4.131) 1ऊधसोऽनङ् a cow with a full udder भुवंकोष्णेनकुण्डोध्नी; R.1.84. -2 a woman with a full bosom. -कीटः 1 a keeper of concubines. -2 a follower of the Chārvāka doctrine, an atheist. -3 a Brāhmaṇa born in adultery. -कीलः a low or vile man. -गोलम्, -गोलकम् 1 gruel. -2 a group of कुण्ड and गोलक (taken together); cf. परदारेषुजायेतेद्वौपुत्रौकुण्डगोलकौ।पत्यौजीवतिकुण्डःस्यात्मृतेभर्तरिगोलकः॥ Ms.3.174. -धारः 1 N. of a cloud; Mb.12.271.2. -2 N. of a Nāga; Mb.2.9.9. -पाय्यः (कुण्डेनपीयतेअत्रक्रतौ) क्रतौकुण्डपाय्यस- ञ्चाय्यौ P.III.1.130; a sacrifice; कुण्डपाय्यवतांकच्चिदग्नि- चित्यावतांतथा Bk.4.67. -भेदिन्a. Clumsy.(Apte)
କୁଣ୍ଡ— Kuṇḍa A fire-basin; brazier;ନିଆଁରଖିବାପାଇଁଭୂମିରେକରାୟିବାଗର୍ତ୍ତ— 3. A hole or pit made in the earth for keeping fire or live charcoal. 4।ଅଗ୍ନିକୁଣ୍ଡ—4. A fireplace.A sacrificial fireplace.(Oriya)
S کنڐ कुण्डkuṇḍ , s.m. A basin, bowl, pitcher, waterpot, water-jar; — a pit for sacrifice; a hole in the ground for receiving and preserving consecrated fire; a brazier;(Urdu)
Span of the two arms: କୁଣ୍ଢ— Kuṇḍha [synonym(s): হাতেরবেড়हातकाघेरा; गाद] ଦେ. ବି— ବିସ୍ତାରିତବାହୁଦ୍ବଯମଧ୍ଯସ୍ଥବୃତ୍ତାକାରବ୍ୟବଧାନ; ବାହୁପାଶଦ୍ବାରାବେଷ୍ଟିତବୃତ୍ତ; ବୃତ୍ତାକାରବାହୁଦ୍ବଯରବେଷ୍ଟନୀ; ଦୁଇବାହୁରବେଢ଼; ଦୁଇହାତରଅଗ୍ରଭାଗକୁପରସ୍ପରସ୍ପର୍ଶକରିବାହୁଦ୍ବଯକୁଚକ୍ରାକାରକଲେତହିଁଦ୍ବାରାବେଷ୍ଟିତବ୍ୟବଧାନ— The circular space enclosed by the two arms by extending them and causing the finger ends to touch each other; the span of the two arms. ସେଗଛରଗଣ୍ଡିତଦଶଜଣକୁଣ୍ଢତପାଇବଏକାବେଳକେକଲେକୁଣ୍ଡ।କୃଷ୍ଣସିଂହମହାଭାରତ।କୁଣ୍ଢେମୋଟ— Kuṇḍhemoṭa ଦେ. ବିଣ— 1।ୟାହାରପରିଧିବାଗୋଲେଇରଚାରିପାଖରେବାହାବୁଲେଇଲେଦୁଇହାତରଅଗପରସ୍ପରକୁସ୍ପର୍ଶକରେ— 1. Having the girth two arms.
(Saantali) Rebus: singi 'ornament gold'
1, kōḍe, kōnda ‘young bull' (Telugu, Marathi)
2. kōḍ (pl. kōḍul) horn (Pargi)
3. kot.iyum = a wooden circle (ring) put round the neck of an animal; kot. = neck (Gujarati)
4. khōṇḍā 'cowl or hood'
Rebus 1: konda, kunda 'live coals in a pit, sacred fire'
Rebus 2: kōnda ‘engraver', kōndaṇa 'lapidary infixing gems’ working with , kundaṇa 'pure gold'
Rebus 3: koḍ 'artisan's workshop' (Kuwi) koḍ = place where artisans work (Gujarati)
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.
*gōḍḍ -- ʻ dig ʼ see *khōdd -- .
Addenda: *gōṭṭa -- : also Ko. gōṭu ʻ silver or gold braid ʼ.(CDIAL 4271)
Spathe of palm: *sippī ʻ shell ʼ. [← Drav. Tam. cippi DED 2089] Pa. sippī -- , sippikā -- f. ʻ pearl oyster ʼ, Pk. sippī -- f., S. sipa f.; L. sipp ʻ shell ʼ, sippī f. ʻ shell, spathe of date palm ʼ, (Ju.) sip m., sippī f. ʻ bivalve shell ʼ; P. sipp m., sippī f. ʻ shell, conch ʼ; Ku. sīp, sīpi ʻ shell ʼ; N. sipi ʻ shell, snail shell ʼ; B. sip ʻ libation pot ʼ, chip ʻ a kind of swift canoe ʼ S. K. Chatterji CR 1936, 290 (or < kṣiprá -- ?); Or. sipa ʻ oyster shell, mother -- of -- pearl, shells burnt for lime ʼ; Bi. sīpī ʻ mussel shells for lime ʼ; OAw. sīpa f. ʻ bivalve shell ʼ, H. sīp f.; G. sīp f. ʻ half an oyster shell ʼ, chīp f. ʻ shell ʼ; M. śīp, śĩp f. ʻ a half shell ʼ, śĩpā m. ʻ oyster shell ʼ; -- Si. sippiya ʻ oyster shell ʼ ← Tam.(CDIAL 13417)
Ta. pāḷai spathe of palms. Ma. pāḷa id., bark or film of an areca branch (used as vessel for gathering toddy, as hat); pāṇu spatha of a coconut bunch. Ka. hāḷe, hāḷi broad spathe at the bottom of an areca-palm branch, used as a vessel, etc.; (K.2) pāḷe the outer covering of the areca nut flowers. Tu. pāḷè, pālè, pālem bu spatha of palm blossoms or of an areca branch, cap made of areca spatha. Kor. (M.) hāḷe spathe of areca nut tree. Te. pāḷa husk of a coconut. (CDIAL 4116)
Ta. pāḷam metal cast in moulds. Ma. pāḷam ingot; vāḷam id., bar of gold or iron; a hammer for the chisel. Ka. pāḷa ingot of gold or silver. Te. pāḷamu, pāḷā ingot. (DEDR 4114)
*rayaṇa ʻ flowing ʼ. [√rī]Pk. rēṇi -- m.f. ʻ mud ʼ; L. reṇī f. ʻ ingot ʼ; P. reṇī f. ʻ first watering before sowing, ingot of gold or silver ʼ; Bi. rain ʻ channel on block of sugar mill through which juice thrown up flows back ʼ; G. reṇ n. ʻ cement for metallic objects ʼ; M. reṇẽ n. ʻ dung of young black cattle ʼ. <-> MIA. *ravaṇa -- (cf. BHSk. ravaṇaka -- n. ʻ a filter ʼ, Pa. rava -- ~ raya -- and Pk. ravaï ʻ makes wet ʼ): L. roṇī f. ʻ watering a field before ploughing ʼ; P. rauṇī, roṇī f. ʻ watering before sowing ʼ; Mth. raun = Bi. rain above.(CDIAL 1639)
drṓṇa1 n. ʻ wooden trough ʼ RV., ʻ a measure of capacity ʼ Yājñ., drōṇī -- 1 f. MBh., ˚ṇikā -- f. lex. 2. drṓṇya -- ʻ *like a trough ʼ (ʻ pertaining to a trough ʼ RV.). [In meaning ʻ boat ʼ perh. X *ḍōṅga -- of separate non -- Aryan origin; but for semantic relationship of ʻ trough -- boat ʼ cf. Bi. nāw ʻ feeding trough ʼ < nāvāˊ -- . -- dru -- ]1. Pa. dōṇa -- n. ʻ wooden pail, a measure ʼ, dōṇī -- , ˚ṇikā -- f. ʻ wooden trough, roughly shaped canoe ʼ; Pk. dōṇa -- m. ʻ a measure ʼ, dōṇī -- f. ʻ boat ʼ; Gaw. luṅ ʻ millrace ʼ (< *drōṇaka -- ); K. ḍūna m. ʻ leaf plate ʼ, ḍūnu m. ʻ walnut ʼ; WPah. (Joshi) jūṇ m. ʻ a grain measure = 16 pāthās ʼ; Ku. doṇ, dūṇ, ʻ a grain measure = 32 ser ʼ, duṇo, ḍuṇo m. ʻ cup made of leaves sewn together ʼ; N. dunu ʻ leaf folded into a cup ʼ; A. don ʻ a grain measure = 5 ser, one bighā of land ʼ, duni, dunari ʻ small basket containing rice &c. and carried in a procession to fetch water at a marriage ʼ; B. donā ʻ leaf cup ʼ (ODBL 330 wrongly < damanaka -- ), duni ʻ wooden trough, canoe ʼ; Or. duuṇī ʻ sloop ʼ; Bi. don ʻ long log of wood hollowed like a spoon to act as irrigating lever ʼ, donā, donī ʻ small leaf platter ʼ, Bhoj. Aw.lakh. dōnā; H. don m. ʻ wooden trough or channel used in irrigation ʼ, donā m. ʻ leaf cup ʼ, ˚nī f. ʻ small do. ʼ, ḍonī f. ʻ small trough, small boat, boatshaped receptacle of leaves for ghee ʼ; G. droṇ m. ʻ leaf cup ʼ; M. doṇ f. ʻ trough ʼ, ḍoṇ n.f. ʻ scooped out tree as trough ʼ, ḍoṇā m. ʻ leaf cup ʼ, ḍoṇī f. ʻ small trough, canoe ʼ, ḍoṇgẽ n. ʻ wooden trough ʼ; Si. deṇiya ʻ trough ʼ, deṇa ʻ canoe ʼ; Md. dōni ʻ boat ʼ.2. L. ḍonā m. ʻ leaf cup ʼ, P. ḍonnā, ḍūnnā, ḍūnã̄ m., Or. danā (a = o?): or < MIA. *doṇṇa -- < drṓṇa -- 1; <-> the words for ʻ cup ʼ in N. A. B. Bi. Aw. Bhoj. H. above may be < MIA. dōṇa -- or *doṇṇa -- .(CDIAL 6641)
கலம்¹ kalam , n. 1. [K. kala, M. kalam, Tu. kara.] Vessel; hollow utensil, as a cup; plate, whether of earth or metal; earthenware; பாத்திரம். பொற்கலத்தூட்டி (நாலடி, 345). 2. Bottle-shaped vessel; குப்பி. யவனர்நன்கலந்தந்த . . . தேறல் (புறநா. 56, 18). 3. [T. kalamu, M. kalam.] Ship, boat; மரக்கலம். கலங்கவிழ்மாக்களை (மணி. 16, 120). 4. The 27th nakṣatra. See இரேவதி. பூரம்பரணிகலம் (சிலப். 3, 123, உரை). 5. Jewel; ornament; ஆபரணம். நன்கலம்பரிசின்மாக்கட்கு . . . நல்கி (புறநா. 6, 15). 6. Lute; யாழ். கலத்தொடுபுணர்ந்தமைந்தகண்டத்தால் (சிலப். 7, 24). 7. Plough; உழபடை. (சூடா.) 8. Weapon; ஆயுதம். கையினுங்கலத்தினுமெய்யுறத்தீண்டி (பட்டினப். 70). 9. Document written on palm-leaf; ஓலைப்பத்திரம். (தொல். சொல். 81, உரை.) 10. A measure of capacity; ஒருமுகத்தலளவு. (தொல். எழுத். 168.)
Indus Script hieroglyph: 1. 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) 2. arka 'sun's rays' rebus: arka 'copper, gold' .The wheel PLUS pannier PLUS neck ring PLUS ear PLUS forward-thrusting, spiny-horned young bull signify: arka 'copper, gold' konda 'furnace'; koDiyum 'bneck ring' rebus: koD 'workshop' PLUS kAra 'ear' rebus: khAr 'blacksmith' PLUS singhin 'forward thrusting, spiny-horned' rebus: singi 'ornament gold' PLUS khonDa 'young bull' rebus: konda 'furnace' kondar 'turner' kunda 'fine gold'.
m0712Text 1091
m0712
m712 The څرخ ṯs̱arḵẖ 'wheel' metath. cakra 'wheel' rebus: arka 'copper, gold' embellishes the neck of the young bull on m712 seal. Thus, kundar 'turner' is a copper worker and खोंड khōṇḍa 'young bull' rebus: konda 'kiln, furnace' (Kashmiri) is arka konda 'a copper furnace'.The standard device is: Hieroglyph: सांगडsāṅgaḍa 'a body formed of two or more (animals) linked or joined together' sangaḍa, 'lathe-brazier' Rebus: S. sã̄go m. ʻ companionship, caravan ʼ(Sindhi)(CDIAL 13329). This composite is composed of: kunda 'lathe' rebus:kunda 'fine gold' PLUS కమటముkamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవానికుంపటి.
rebus:Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236). Thus, the field symbol signifies fine gold mint caravan of copper, ornament gold turners (with furnace). Text message: kanac 'corner'rebus: kancu 'bell-metal' PLUS sal 'splinter' rebus: sal 'workshop'; thus, bell-metal workshop'; kolom 'three' rebus: kolimi 'smithy, forge' PLUS kor̤u 'sprout' rebus: kor̤u 'bar metal' (Alternative:kolmo 'rice plant' rebus: kolimki 'smithy, forge' as a semantic determinative).
L-75ALothal075 konda 'fire-altar'
m349Nausharo 10
h120h121
h122h123
m1254m1255 m1256m1257
m1258
m352 got 'seed, bean, whole'; खोट(p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. (Marathi) dhAv 'dotted circle, strand' rebus: dhAv 'mineral' kanda 'fire-altar'
h630h631
h638h636h635
h634h633
Images of seals (called compartmentalised seals) from BMAC.
m1415A
m1415B
m272a
Mehergarh5h1071
Following notes point to the essential similarity between Ahar-Banas artifacts and the finds from other sites of Sarasvati-Sindhu civilization. In particular, the seal showing a + shaped fire-altar may be explained as a Vedi. Similar hieroglyphs occur on Indus Script Corpora, for example the following:
Faience button seal Harappa Archaeological Research Project A faience button seal with geometric motif (H2000-4491/9999-34) was found on the surface of Mound AB at Harappa by one of the workmen.
"The archaeological site of Malhar (2183’73” and 8216’41”E) is situated in the District Bilaspur. Locally known as Gadh (meaning fort), the site is one of the thirty-six forts after which the state of Chhattisgarh is perhaps named...new evidences regarding the structural complexes, terracotta sealings, coins, terracotta human and animal figurines, objects of daily use made on stone, iron, copper, ivory, etc...A burnt brick square kunda structure...measures approximately 1.60m. Square at the top, it has five steps leading to centre of the structure in descending order originally from all the four sides. The entire structure is lime plastered from inside. At this level a significant find of the season is very big storage jar excavated in situ which is coloured from the interior with red wash. Perhaps this is the biggest ever a storage vessel excavated anywhere in India so far. The ceramic finds of this period were red ware, dull red ware, red slipped ware, black and red ware and limited quantity of black/grey ware. The pottery types consisted of storage jars, globular vessels, carinated handis, and bowls of different sizes, very narrow neck small to medium size globular vessels, flask, basins, lid with knob and a religious vessel having seven spouts. Similar pots are said to be still in use with the present day villagers during the marriage rituals. This period is marked by the presence of sealings. One of them read “ran~yo sivamaghasa(si)ra(ri)sa” and the other depicting a seated humped bull to right and below the legend within a parallel margin reads “rusabha yasa”, both sealings are assignable to 1 st Century BCE-CE on the basis of palaeographical studies. A Satavahana silver portrait coin of Vashishthiputra Pulumavi, from this period marks an important milestone at Malhar for the first time. It makes all the more important since this has come from proper field excavation. Just below this important numismatic find, a two-room Satavahana brick structure was excavated with an open lime plastered verandah (Pls. 6-9)...Antiquarian finds from this period include beads of glass, terracotta and semiprecious stone. A highly decorated square stone plaque with religious symbols engraved and arranged in a circle is one of the objects of secular nature among the important finds. Two silver Roman Portrait coins (dinar) were excavated from the upper deposit of this period. One of them was later converted in locket while the other is intact. But, unfortunately both of them are highly worn out. Objects of iron include sickle, nails of different kinds and sizes, knife, choppers, arrow, spear heads etc. Other finds include copper coins, terracotta sealings, saddle quern, terracotta tiles with finger marks and double perforation. This season, the excavation has yielded approximately four periods of deposit, encountering nearly twenty two layers of occupation with an evidence of flood that has caused complete erosion of the site at the twentieth layer of habitation."(opcit., pp.5-7).
This is an addendum to: Old Meluhha spoken form koṇḍa 'live coals in a pit', अग्नि-कुण्ड documented on thousands of Indus Script inscriptions https://tinyurl.com/y9larphj This monograph has demonstrated that the word for a sacred fire-altar which is square in shape is signified by the Meluhha words: khoṇḍ 'square'; kōḍe, khōnda ‘young bull' (Telugu, Marathi). On Indus Script Corpora, the khōnda ‘young bull' is ligatured with a hieroglyph to signify the artisan's professional expertise: singhin 'forward-thrusting, spiny horned' rebus: singi 'ornament gold'. The artisan is kondar'lathe-worker, turner' also called Kundakara (Oriya)কুন্দ. ̃কার (Bengali) kuniyā m. ʻ turner ʼ, kunwā m.(Hindi) kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1] A. kundār, B. kũdār, ˚ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, ˚rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ(CDIAL 3297).
See: Importance of Mari victory procession with 'unicorn' standard, Indus Script hypertext, gold for ornamentshttps://tinyurl.com/y5l3wpbo "Mari is not considered a small settlement that later grew, but rather a new city that was purposely founded during the Mesopotamian Early Dynastic period I c. 2900 BC, to control the waterways of the Euphrates trade routes that connect the Levantwith the Sumerian south.The city was built about 1 to 2 kilometers away from the Euphrates river to protect it from floods,and was connected to the river by an artificial canal that was between 7 and 10 kilometers long, depending on which meander it used for transport, which is hard to identify today.(Margueron, Jean-Claude (2013). "The Kingdom of Mari". In Crawford, Harriet (ed.). The Sumerian World. Translated by Crawford, Harriet. Routledge, p.520)
"The city is difficult to excavate as it is buried deep under later layers of habitation.[4] A defensive system against floods composed of a circular embankment was unearthed,[4] in addition to a circular 6.7 m thick internal rampart to protect the city from enemies.[4]An area 300 meters in length filled with gardens and craftsmen quarters[5] separated the outer embankment from the inner rampart, which had a height of 8 to 10 meters and was strengthened by defensive towers....Mari's (Tell Harriri) position made it an important trading center as it controlled the road linking between the Levant and Mesopotamia. The Amorite Mari maintained the older aspects of the economy, which was still largely based on irrigated agriculture along the Euphrates valley. The city kept its trading role and was a center for merchants from Babylonia and other kingdoms, it received goods from the south and east through riverboats and distributed them north, north west and west.[174] The main merchandises handled by Mari were metals and tin imported from the Iranian Plateau and then exported west as far as Crete. Other goods included copper from Cyprus, silver from Anatolia, woods from Lebanon, gold from Egypt, olive oil, wine, and textiles in addition to precious stones from modern Afghanistan...Mari was classified by the archaeologists as the "most westerly outpost of Sumerian culture".(Gadd, Cyril John (1971). "The Cities of Babylonia". In Edwards, Iorwerth Eiddon Stephen; Gadd, Cyril John; Hammond, Nicholas Geoffrey Lemprière (eds.). Part 2: Early History of the Middle East. The Cambridge Ancient History (Second Revised Series). 1 (3 ed.). Cambridge University Press, p.97. )...A journal devoted to the site since 1982, is Mari: Annales de recherches interdisciplinaires...Since the beginning of excavations, over 25,000 clay tablets in Akkadian language written in cuneiform were discovered...The language of the texts is official Akkadian, but proper names and hints in syntax show that the common language of Mari's inhabitants was Northwest Semitic...Excavations stopped as a result of the Syrian Civil War that began in 2011 and continues to the present (2019).The site came under the control of armed gangs and suffered large scale looting. A 2014 official report revealed that robbers were focusing on the royal palace, the public baths, the temple of Ishtar and the temple of Dagan.
In the Mari procession, the priest carries a hieroglyph of 'one-horned young bull' on a pedestal of rein-rings held aloft on a flagstaff which itself is a hieroglyph which is a millet culm. The proclamation in plain text Meluhha is:
Eleusine coracana, finger millet culm is comparable to the flagstaff carried by the priest on Mari procession.I submit that the Meluhha word is खोंडाkhōṇḍā 'a variety of जोंधळा millet' Rebus: koṇḍa 'sacred fire altar, live coals in a pit'. This is a synonym of खोंडाkhōṇḍā 'youngbull' Rebus: koṇḍa 'sacred fire altar, live coals in a pit' working with ornament gold: singhin 'forward-thrusting, spny-horned' Rebus: singi 'ornament gold'.
káṭaka'bridle ring' Rebus: káṭaka 'caravan'
खोंडाkhōṇḍā 'a variety of जोंधळा millet' Rebus: koṇḍa'sacred fire altar, live coals in a pit'
Thus the proclamation expression signifies the celebration of
káṭaka 'caravan' of kũdār 'turners,artisans' working with singi 'ornament gold' koṇḍa 'sacred fire-altar,live coals in a pit.'
The 'rein rings' are read rebus: káṭaka 'bridle, rein-ring' rebus:káṭaka 'caravan':கடிவாளம்kaṭi-vāḷam , n. < கடி¹-. [T. kaḷḷiyamu, K. kaḍiyaṇa, M. kaḍivāḷam, Tu. kaḍivāṇa.] Horse's bit, bridle; குதிரைவாயில் மாட்டப்படும் இருப்புக்கருவி. (திவா.)கடிவாளம்வெட்டல்kaṭivāḷam-veṭṭal , n. < கடிவாளம் +. Slackening and pulling, jerking the reins of a horse; கடிவாளவாரைத் தளர்த்தி யிழுத்துவிடுகை. (W.) கடிவாளவார்kaṭivāḷa-vār , n. < id. +. Bridle reins; லகாம். (W.) káṭa1 m. ʻ twist of straw, mat ʼ TS., káṭaka -- m.n. ʻ twist of straw ʼ Kād., ʻ bridle ring ʼ Suśr., ʻ bracelet ʼ Kālid., kaṭikā -- f. ʻ straw mat ʼ KātyŚr. com. [Derivation as early MIA. form of *kr̥ta -- 2 ~ kr̥ṇátti EWA i 141 is supported by S. P. L. forms of the latter q.v. In NIA., except in G., káṭa -- 1 has developed as ʻ ring, bracelet, chain ʼ.]Pa. kaṭa -- m. ʻ mat ʼ, ˚aka -- m.n. ʻ ring, bracelet ʼ; Pk. kaḍaya -- m.n. ʻ ring ʼ, kaḍā -- f. ʻ chain ʼ; Gy. wel. kerō m. ʻ bracelet ʼ, gr. koró; Dm. kaŕaī; Paš. kāṛa ʻ snare (made of horsehair) ʼ IIFL iii 3, 98 with (?); Phal. kāṛa ʻ bracelet ʼ, Sh. kāvṷ m., (Lor.) kāo, K. karu m.; S. kaṛo m. ʻ ring, chain or hasp to fasten door, buttonhole ʼ, ˚ṛī f. ʻ metal ring, anklet ʼ; L. kaṛā m. ʻ bracelet, magic circle drawn round person or garden produce to keep off jinni ʼ, ˚ṛī f. ʻ anklet ʼ; P. kaṛā m. ʻ bracelet, tyre of wheel ʼ, ˚ṛī f. ʻ ring, manacle ʼ; WPah. bhal. kaṛu n. ʻ link of a chain ʼ; Ku. kāṛo ʻ bangle ʼ; N. karo, pl. ˚rā ʻ rings of a vessel by which it is lifted ʼ; B. kaṛ ʻ lac bracelet worn by women with living husbands ʼ, kaṛā ʻ metal ring ʼ, ˚ṛi ʻ ring, bracelet ʼ; Or. kaṛā ʻ metal ring, link ʼ; Bi. karā ʻ handle of a vessel ʼ; H. kaṛā m. ʻ ring, bracelet, anklet ʼ, ˚ṛī f. ʻ metal ring ʼ (→ Bi. Mth. kaṛī ʻ iron ring ʼ); Marw. kaṛo m. ʻ bracelet ʼ; G. kaṛo m. ʻ large mat ʼ, ˚ṛũ n. ʻ circular ring of gold or silver ʼ, ˚ṛī f. ʻ link, hook, chain ʼ; M. kaḍẽ n., ˚ḍī f. ʻ metal ring ʼ. -- Ext. with -- ḍa -- : G. karṛɔ m. ʻ toe ring ʼ, ˚ṛī f. ʻ ear -- ring ʼ; -- with -- la -- : N. kalli ʻ anklet ʼ; G. kaḍlũ, kallũ n. ʻ bracelet, anklet ʼ, kaḍlī, kallī f. ʻ ring, armlet ʼ.(CDIAL 2629)
(Kannada)
valgā, bāg-ḍora 'bridle' rebus (metath.) bagalā 'seafaring dhow'.
Hieroglyphs which are semantic determinatives of the word khōnda 'young bull' are identified in Meluhha sprachbund, 'speech union':
1. Pannier or shovel-form sack on the shoulder of young bull: खोंडा khōṇḍām A
कांबळा of which one end is formed into a cowl or hood. खोंडरूं khōṇḍarūmn A contemptuous form of खोंडा in the sense of कांबळा-cowl.खुंडी khuṇḍī f A cloth doubled over and sewn at one end, forming a घोंगता, खोपा, or खोळ (an open or outspread shovel-form sack).
2. Iron ring round an ox's neck kõṛarā, kon̆ḍola, kuṇḍal: kuṇḍalá1 n. ʻ ring, ear -- ring ʼ ĀśvGr̥., ʻ bracelet ʼ Śiś., ʻ coil of a rope ʼ lex. 2. *kōṇḍala -- OSi. koḍulu ʻ ear -- ornament ʼ, Si. kon̆ḍola ʻ ear -- ring ʼ, ˚lā ʻ snake ʼ; -- prob. ← E: L. kuṇḍal m. ʻ rim ʼ, awāṇ. kuṇḍul ʻ coil ʼ; P. kuṇḍal m. ʻ iron ring round an ox's neck, coil, ear -- ring ʼ, ˚lī f. ʻ ring, coil, curl ʼ; Ku. kuṇḍalī ʻ head of a drum ʼ. -- Poss. Tor. (Biddulph) koror, f. kerer ʻ round ʼ.2. Pk. koṁḍala -- = kuṁḍala -- ; M. kõḍḷẽ n. ʻ circle, enclosure ʼ; -- H. kõṛarā m. ʻ iron ring round the mouth of a bucket ʼ, ˚rī f. ʻ wooden ring holding the leather of a huṛuk drum ʼ or poss. < kauṇḍalá -- ; -- H. koṛār m. ʻ circular band round the wood of an oil -- press ʼ with -- āl<-> as in G. forms above or < kuṇḍalākāra -- .3. N. gũṛulo, ˚li, ˚linu = kũṛulo, &c. above; H. gõṛarā = kõṛarā above, gũḍlī, gẽṛulī, gẽṛurī f. ʻ a round mat to place pots on ʼ.
(CDIAL 3268)
3. Millet खोंडाkhōṇḍā, variety of जोंधळा:खुंडी khuṇḍīA species or variety of जोंधळा.
खोंडा khōṇḍā, खोंडी khōṇḍī (also खोंडी & खोंडें) A variety of जोंधळा. There are many varieties of जोंधळा jōndhaḷāmA cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz.उतावळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others asकेळी, अरगडी, डुकरी, बेंदरी, मडगूप&c.
कडबी kaḍabī f After-sproutings of जोंधळा. Cut in the hot season as food for cattle. कडबा kaḍabā m The culm or haum of जोंधळा dried for fodder. 2 fig. (Because कडबा is the mere culm without the head.) कड्याळ kaḍyāḷa n Holcus sorghum (जोंधळा) and sometimes बाजरी raised (whether in ज्येष्ठ or भाद्रपद, having been sown in चैत्र or ज्येष्ठ) for fodder to cattle.
(Santali)खोंडी khōṇḍī खुंडी. 2 A species or variety of जोंधळाkōdrava m. ʻ Paspalum scrobiculatum (a grain eaten by the poor) ʼ MBh., ˚aka -- m. BHSk. [Cf. kōradūṣa<-> m. ʻ id. ʼ Suśr., ˚aka -- m. KātyŚr., Pa. kudrūsa -- , ˚aka -- m., Pk. kōdūsaga -- , kōḍū˚ m. E. H. Johnston JRAS 1931, 577]Pk. koddava -- , kud˚ m., K. kuduru m., S. koḍriṛī f., P. kodrā m. (kodā, ˚dõ m. ← H.), WPah. koḍḷo m.; Ku. kodo ʻ a small edible grain ʼ; N. kodo ʻ Eleusine indica ʼ; B. kodo ʻ P. scrobiculatum ʼ, Or. kodua; Bi. kodo ʻ P. frumentaceum ʼ, ˚daī ʻ a smaller variety ʼ; Mth. kodo ʻ P. scorbiculatum ʼ, H. kodo, ˚dõ, ˚daw m., ˚daī f. (kodrā m. ← P.), G. kodrā m. pl. ʻ the grain ʼ, ˚drī f. ʻ the grain separated from the chaff ʼ (→ M. kodrū m.).kōnālaka -- see kuṇāla -- .Addenda: kōdrava -- : WPah.kc. kodo m. ʻ certain coarse grain ʼ, kṭg. kodrɔ m. ← P.†*kōdravapiṣṭa -- .3515a†*kōdravapiṣṭa -- ʻ flour of Paspalum scrobiculatum ʼ. [kōdrava -- , piṣṭá-- ]WPah.kc.kodṭho,kədiṭṭho, kṭg.kədríṭṭhɔm. ʻ flour of this grain ʼ, J.kdiṭhām.(CDIAL 3515, 3516)Ta. kural Italian millet. Ko. koyḷSetaria italica; korly id. (< Badaga). Ka. koṟale, korle a kind of millet, Panicum italicum Lin. Te. koṟṟalu (pl.) id.; koṟṟa the cereal yielding koṟṟalu.Pa.koylaP. italicum. Go. (Tr.) kōhalā, (W. Ph.) kohalā, (S.) kohala, (Ma.) koˀ laPanicum miliare (Voc. 957); (Mu.) gorraŋ (pl.), (Ma.) gor̥a (pl.-ŋ), (Ko.) korra manḍeya corn, Eleusine coracana (Voc. 1207). Konḍa (BB) koṟeŋ (pl.) a grain (= Or. kāṅgu). Kuikueri millet. [S. italica Beauv. = P. italicum Linn.] (DEDR 2163)
Investiture ceremony of priests in शतपथ-ब्राह्मण, attested on Indus Script with embroidered trefoils of Potr̥, 'purifier priest', podār 'assayer of metals'
This attestation of शतपथ-ब्राह्मण narrative on Indus Script is stunning. The evidence conclusively provides evidence that Sarasvati-Sindhu Civilization is dated close to the date of शतपथ-ब्राह्मण tradition, hence certainly post-Rgveda by at least a millennium during the Tin-Bronze-alloying revolution of Bronze Age. Since Indus Script is dated from ca. 3300 BCE (pace discovery of HARP potsherd), Rgveda should be dated at least a millennium prior to this date, i.e. earlier than 5th millennium BCE.
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Decipherment of Harappa potsherd (HARP) kolom'three' rebus: kolimi 'smithy, forge' PLUS tagaraka 'tabernae montana fragrant flower' rebus: tagara'tin ore'. Thus, tin smithy.
-- Dotted circle hieroglyphs of Indus Script signify purification of ores, smelting of metals led by Potr̥, 'purifier priest', podār 'assayer of metals'
-- Dotted circle hieroglyphs of Indus Script Corpora embellish goldsmith's portable furnace, statue of Potr̥, 'purifier priest' with trefoils, gold-bead fillets on forehead and right shoulder, signify two metallurgical processes: smelting, purification of metals
Dotted circles are an abiding set of hieroglyphs of Indus Script. What do they signify? I submit that they signify two Meluhha rebus renderings: Potr̥, 'purifier priest', धावड dhāvaḍa 'iron smelter' See: Potr̥, 'purifier priest', धावड dhāvaḍa 'iron smelter' is paṭel 'headman' of metalworkers' guild https://tinyurl.com/y2287ve9
dhāī 'dot' and vaṭṭa.'circle' Rebus: धावड dhāvaḍa 'iron smelter'
pot 'perforation' pot 'gold, glass bead' rebus: Potr̥, 'purifier priest'; 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.(Marathi)
pōtrá1 ʻ *cleaning instrument ʼ (ʻ the Potr̥'s soma vessel ʼ RV.). [√pū]Bi. pot ʻ jeweller's polishing stone ʼ? -- Rather < *pōttī -- .(CDIAL 8404)
ପୁଅ— Pua 'pupil of the eye'ପୁଅ ଦାର୍— Pua dār ବୈଦେ. ବି. (ଫା)— ପୋଦାର୍ (ଦେଖ) Podār (See)ପୁଅ ଦ୍ଦାର୍— Pua (ddā) ବୈଦେ. ବି. (ଫା)— ପୋଦାର୍ (ଦେଖ) Podār (See)ପୋଦାର୍— Podār [synonym(s): পোদ্দারपोहार]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): পোদ্দারपोहार]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): পোদ্দারীपोद्दारी]ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār.ପୋଦ୍ଦାରୀ— Poddārī [synonym(s): পোদ্দারীपोद्दारी]ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār.
With this decipherment of 'dotted circles' hieroglyphs, the following evidence is reviewed.
Wheel shape is also related to:
--अर्का* श्व-मेधm. du.([ Pa1n2. 2-4 , 4Ka1s3. ]) or °ध्/औ ([अथर्व-वेदxi , 7 , 7 , andशतपथ-ब्राह्मण]), the अर्क ceremony and the अश्वमेध sacrifice (Monier-Williams) څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel .(Pashto) Rebus: arka sal 'goldsmith's workshop'; arka 'copper, gold' arka 'sun's rays'.
Hieroglyphs of dotted circles signify perforations: Konḍa (BB) pot- (-t-) to bore, perforate.Rebus: N. pote ʻ long straight bar of jewelry ʼ and P. pot 'bead'. Thus, together with kunda kammaṭa 'fine gold mint', the dotted circles as perforations signify pot 'jewellery of beads', pote 'long straight bar of jewelry (like a gold ingot)'. A rebus rendering of this word also signifies: पोतृ प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; =यज्ञस्य शोधयिट्रिSa1y. ) RV. Thus, dottedd circles are signifiers of the work of lapidary goldsmith as a purifier of fine gold metal. This word is semantically expanded as an 'assayer of metal': 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 pōtanīsam ( P) The treasurer or cash-keeper.(Marathi) ପୋଦାର୍— Podār [synonym(s): পোদ্দারपोहार]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): পোদ্দারपोहार]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): পোদ্দারীपोद्दारी]ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār.ପୋଦ୍ଦାରୀ— Poddārī [synonym(s): পোদ্দারীपोद्दारी]ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār.(Oriya)
-- Ta.potu (-v-, -nt-) to be perforated; (-pp-, -tt-) to bore, pierce; potumpu hole, hollow in a tree, pit, cave; pottu hole, rat-hole, hollow in a tree, rent or puncture, defect; pottal, pottai hole, orifice, defect;Ma. pottu hole in the ground, cavity, hollow hand; pōtu a hole as in worm-eaten wood. Te. botta hole, leak; bonda hole, bore; Konḍa (BB) pot- (-t-) to bore, perforate. Pe. pot- (-t-) id. Kui pospa (post-) to pierce, bore a hole, mortise; n. act of piercing, mortising; pondo hole; ? bojo wood dust resulting from dryrot. Kuwi (F.) pōthali to hollow out; (S.) poth'nai to hole; (Isr.) pot- (-h-) to make a hole (in wood, etc.). (DEDR 4452) *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, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1.(CDIAL 8403) pōtrá1 ʻ *cleaning instrument ʼ (ʻ the Potr̥'s soma vessel ʼ RV.). [√pū]Bi. pot ʻ jeweller's polishing stone ʼ? -- Rather < *pōttī -- .(CDIAL 8404)
Rtvij wear embroidered shawls, embroideries of trefoils, tridhatu of Traidhâtavî (ishti).
This submission is based on the details provided in the शतपथ-ब्राह्मण in a remarkable referene to traidhatavi needles, i.e. needles of copper, silver and gold used to decorate the robe with single dotted circle, double dotted circles and trefoils (three dotted circles fused into a flower-like adornment).
The embroidery tradition of Traidhâtavî (ishti) of investiture ceremony for Potr with trefoils on his uttariyam -- in the concluding celebration of a yajna -- continues into historical periods with trefoils adorning handicrafts made by artisanss and embroideries of Kutch even today.
शतपथ-ब्राह्मण 13.2.10 TENTH BRÂHMANA
1. When they prepare the knife-paths, the Sacrificer makes for himself that passage across, a bridge, for the attainment of the heavenly world. 2. They prepare them by means of needles; the needles, doubtless, are the people (clans), and the Asvamedha is the royal power: they thus supply him with people and royal power combined. They are made of gold: the meaning of this has been explained. 3. Three kinds of needles are (used), copper ones, silver ones, and gold ones;--those of copper, doubtless, are the (principal) regions (of the compass), those of silver the intermediate ones, and those of gold the upper ones: it is by means of these (regions) they render it fit and proper. By way of horizontal and vertical (stitches 1) they are many-formed, whence the regions are many-formed; and they are of distinct form, whence the regions are of distinct form. Note: On people (clans): Viz. because of the large number and the small size (insignificance) of the needles, or wires, (and the common people). On 'stitches' (on the robe?): It is doubtful what word, if any, has to be supplied here,--perhaps it means, by way of their being (in sewing) horizontal and vertical. The commentary is silent on this passage. https://www.sacred-texts.com/hin/sbr/sbe44/sbe44092.htm
13.3.4 FOURTH BRÂHMANA
3. The first oblation (of blood) he offers 2 in the throat (gullet) of the Gomriga 1; for Gomrigas are cattle, and the Svishtakrit is Rudra: he thus shields the cattle from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha. 4. The second oblation 1 he offers on a horse-hoof; for the one-hoofed (animals) are cattle, and the Svishtakrit is Rudra: he thus shields the cattle from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha. 5. The third oblation he offers in an iron bowl; for the people (subjects) are of iron 2, and the Svishtakrit is Rudra: he thus shields the people from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha. Note: That is, their value--as compared with that of the king or nobles, and the Brâhmanas--is that of iron, compared with that of gold and silver; cp. XIII, 2, 2, 19. 13.2.2.18, 19: 18. And as to why there are copper (knives) for the 'paryaṅgyas,'--even as the non-royal kingmakers, the heralds and headmen, are to the king, so those 'paryaṅgyas' are to the horse; and so, indeed, is this--to wit, copper--to gold: with their own form he thus endows them.
19. And as to why there are iron ones for the others,--the other animals, indeed, are the peasantry, and this--to wit, iron--is a form of the peasantry: he thus combines the peasantry with the peasantry. On a rattan mat (lying) north (of the Âhavanîya) they cut the portions of the horse(-flesh); for the horse is of anushtubh nature, and related to the Anushtubh is that (northern) quarter: he thus places that (horse) in its own quarter. And as to (his doing so) on a rattan mat,--the horse was produced from the womb of the waters 1, and the rattan springs from the water: he thus causes it to be possessed of its own (maternal) womb.
Udavasânîyâ (closing offering) includes Traidhataviya ishti (Yajna involving three minearal ores):
13.6.2.17. ...The Traidhâtavî is the final offering (Udavasânîyâ): the mystic import is the same (as before 1). (Note: The process is as set forth in V, 5, 5, 6 seqq. As noted in V.5.5.7, the Traidhâtavî ends with presentation of gold coins. Such gold coins are either tied as gold-bead-fillets on the forehead and right shoulder of the priest or stitched on as embroidered adornments on the robe of the priest.
6. And that which had been his (Vritra's) seat, his retreat, that he shattered, grasping it and tearing it out 1 Cf. III, 2, 1, 28.: it became this offering. And because the science (the Veda) that lay in that retreat was, as it were, a threefold (tridhâtu) one, therefore this is called the Traidhâtavî (ishti).
7. And as to why the oblation is one for Indra and Vishnu, it is because Indra raised the thunderbolt, and Vishnu stood by him.
8. And why it is (a cake) on twelve potsherds,--there are twelve months in the year, and the offering is of equal measure with the year: therefore it is one of twelve potsherds.
9. He prepares it of both rice and barley. He first puts on (the fire) a ball of rice, that being a form (symbol) of the Yagus-formulas; then one of barley, that being a form of the Rik-verses; then one of rice, that being a form of the Sâman-hymns. Thus this is made to be a form of the triple science: and this same (offering) becomes the Udavasânîyâ-ishti (completing oblation) for the performer of the Râgasûya.
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11. And, verily, he who performs the Râgasûya gains for himself all sacrificial rites, all offerings, even the spoonful-oblations; and this offering, the Traidhâtavî (ishti), is instituted by the gods: 'May this offering also be performed by me, may I be consecrated by this one also!' thus he thinks, and therefore this is the completing offering for him who performs the Râgasûya.
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16. Three gold pieces of a hundred mânas 2 each are the sacrificial fee for this (offering). He presents them to the Brahman; for the Brahman neither performs (like the Adhvaryu), nor chants (like the Udgâtri), nor recites (like the Hotri), and yet he is an object of respect. And with gold they do nothing 3, and yet it is an object of respect: therefore he presents to the Brahman three gold pieces of a hundred mânas each.
Note:
According to Sâyana, these 'satamânas' are similar to the round plate worn by the king during the Consecration-ceremony; see p. 104, note 2. These plates (as the 'rukmas' generally, VI, 7, 1, 2 seq.) were apparently used for ornament only, not as coins.
Potr 'purifier priest' (Rgveda) is potadara, poddar 'assayer of metals' ପୋଦାର୍— Podār [synonym(s): পোদ্দারपोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେରାଜସ୍ବଟଙ୍କାପରୀକ୍ଷାକରେ)— 1।ଟଙ୍କାକୃତ୍ରିମକିଭଲତାହାପରୀକ୍ଷାକରିବାବ୍ୟକ୍ତି— 1. A person who sets coins; poddar. 2।ତହବିଲ୍ଦାର୍କର୍ମଚାରୀ—2. A cash keeper; cashier. 3।ବଣିଆ; ସ୍ବର୍ଣ୍ଣରୌପ୍ଯବ୍ୟବସାଯୀବଣିକ— 3. Goldsmith; jeweller. 4।ମୁଦ୍ରାବ୍ୟବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker. ପୋଦ୍ଦାର୍— Poddār [synonym(s): পোদ্দারपोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେରାଜସ୍ବଟଙ୍କାପରୀକ୍ଷାକରେ)— 1।ଟଙ୍କାକୃତ୍ରିମକିଭଲତାହାପରୀକ୍ଷାକରିବାବ୍ୟକ୍ତି— 1. A person who sets coins; poddar. 2।ତହବିଲ୍ଦାର୍କର୍ମଚାରୀ—2. A cash keeper; cashier. 3।ବଣିଆ; ସ୍ବର୍ଣ୍ଣରୌପ୍ଯବ୍ୟବସାଯୀବଣିକ— 3. Goldsmith; jeweller. 4।ମୁଦ୍ରାବ୍ୟବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker.ପୋଦାରୀ— Podārī [synonym(s): পোদ্দারীपोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରରକର୍ମ— The work or post of Poddār. ପୋଦ୍ଦାରୀ— Poddārī [synonym(s): পোদ্দারীपोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରରକର୍ମ— 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)
Potr 'purifier priest' (Rgveda) is potadara, poddar 'assayer of metals' ପୋଦାର୍— Podār [synonym(s): পোদ্দারपोहार]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): পোদ্দারपोहार]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): পোদ্দারীपोद्दारी]ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār.ପୋଦ୍ଦାରୀ— Poddārī [synonym(s): পোদ্দারীपोद्दारी]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)
Trefoil inlay decorated on a bull calf. Uruk (W.16017) ca. 3000 BCE. kõdā 'young bull calf' Rebus: kõdā 'turner-joiner' (forge),
damkom = a bull calf (Santali) Rebus: damha = a fireplace; dumhe = to heap, to collect together (Santali)
Meluhha artisans, Indus script writers draw circles with small radii to signify dhātu, dhāv 'mineral' hypertexts
Dotted circle as Indus Script hypertext धावड dhāvaḍa 'red ferrite ore smelter'
Indus Script hypertext/hieroglyph: Dotted circle: दाय 1 [p= 474,2] dāya n. game , play Pan5cad.; mfn. ( Pa1n2. 3-1 , 139 ; 141) giving , presenting (cf. शत- , गो-); m. handing over , delivery Mn. viii , 165 (Monier-Williams)
தாயம் tāyam :Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண். Colloq. (Tamil)
rebus: 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 ʻrelic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāuʻ red chalk, red ochre ʼ (whence ḍhāuāʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ(whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍīʻ composed of or relating to iron ʼ); -- Si. dā ʻrelic 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) धाव (p. 250) dhāva m f A certain soft, red stone. Baboons are said to draw it from the bottom of brooks, and to besmear their faces with it. धावड (p. 250) dhāvaḍa m A class or an individual of it. They are smelters of iron. In these parts they are Muhammadans. धावडी (p. 250) dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron. (Marathi).
PLUS
Hieroglyph: vaṭṭa 'circle'.
Thus, together, the hypertext reads rebus dhā̆vaḍ 'smelter'
The dotted circle hypertexts link with 1. iron workers called धावड (p. 250) dhāvaḍa and 2. miners of Mosonszentjános, Hungary; 3. Gonur Tepe metalworkers, metal traders and 4. the tradition of अक्ष-- पटल [p= 3,2] n. court of law; depository of legal document Ra1jat. Thus, अक्ष on Indus Script Corpora signify documents, wealth accounting ledgers of metal work with three red ores. Akkha2 [Vedic akṣa, prob. to akṣi & Lat. oculus, "that which has eyes" i. e. a die; cp. also Lat. ālea game at dice (fr.* asclea?)] a die D i.6 (but expld at DA i.86 as ball -- game: guḷakīḷa); S i.149 = A v.171 = Sn 659 (appamatto ayaŋ kali yo akkhesu dhanaparājayo); J i.379 (kūṭ˚ a false player, sharper, cheat) anakkha one who is not a gambler J v.116 (C.: ajūtakara). Cp. also accha3. -- dassa (cp. Sk. akṣadarśaka) one who looks at (i. e. examines) the dice, an umpire, a judge Vin iii.47; Miln 114, 327, 343 (dhamma -- nagare). -- dhutta one who has the vice of gambling D ii.348; iii.183; M iii.170; Sn 106 (+ itthidhutta & surādhutta). -- vāṭa fence round an arena for wrestling J iv.81. (? read akka -- ).
దాయము (p. 588) dāyamu dāyamu. [Skt.] n. Heritage. పంచుకొనదగినతంత్రిసొమ్ము. Kinship, heirsh జ్ఞాతిత్వము. A gift, ఈవి. దాయము, దాయలు or దాయాలు dāyamu. [Tel.] n. A certain game among girls. గవ్వలాట; గవ్వలు పాచికలు మొదలగువాని సంఖ్య. (Telugu)
ஏர்த்தாயம் ēr-t-tāyam , n. < id. +. Ploughing in season; பருவகாலத்துழவு. (W.)காணித்தாயவழக்கு kāṇi-t-tāya-vaḻakku, n. < id. +. Dispute between coparceners about hereditary land; பங்காளிகளின்நிலவழக்கு. (J.)தர்மதாயம் tarma-tāyam , n. < id. + dāya. Charitable inams; தருமத்துக்குவிடப்பட்டமானியம். (G. Sm. D. I, ii, 55.)தாயம் tāyam , n. < dāya. 1. Patrimony, inheritance, wealth of an ancestor capable of inheritance and partition (R. F.); பாகத்திற்குரிய பிதிரார்ச்சிதப்பொருள். 2. Share; பங்கு. (யாழ். அக.) 3. Paternal relationship; தந்தைவழிச் சுற்றம். (யாழ். அக.) 4. A fall of the dice; கவறுருட்ட விழும் விருத்தம். முற்பட இடுகின்ற தாயம் (கலித். 136, உரை). 5. Cubical pieces in dice-play; கவறு. (யாழ். அக.) 6. Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண். Colloq. 7. Gift, donation; கொடை. (யாழ். அக.) 8. Good opportunity; சமயவாய்ப்பு. (யாழ். அக.) 9. Affliction, distress; துன்பம். (யாழ். அக.) 10. Delay, stop; தாக்காட்டு. (W.) 11. A child's game played with seeds or shells on the ground; குழந்தை விளையாட்டுவகை. 12. Excellence, superiority; மேன்மை. தாயமாம் பதுமினிக்கு (கொக்கோ. 1, 28).தாயப்பதி tāya-p-pati n. < id. +. City or town got by inheritance; தனக்கு உரிமையாகக் கிடைத்துள்ள வாழிடம் அல்லது ஊர். தாயப்பதிகள் தலைச்சிறந் தெங்கெங்கும் (திவ். திருவாய். 8, 6, 9).தாயபாகம் tāya-pākam, n. < dāyabhāga. 1. Division of an estate among heirs; ஞாதிகள் தம்முள் பிரித்துக்கொள்ளும் உரிமைப்பங்கு. 2. A treatise on the Hindu law of inheritance by jīmūtavākaṉa; பாகப்பிரிவினையைப்பற்றி ஜீமூத வாகனர்
இயற்றிய நூல். 3. Chapter on the law of inheritance in the Mitākṣara of Vijñāṉēšvara, 12th c. (R. F.); பன்னிரண்டாம் நூற்றாண்டில் விஞ் ஞானேசுரர் இயற்றிய
மிதாக்ஷரத்தில் தாயவுரிமை யைப்பற்றிக் கூறும் பகுதி.தாயம் tāyam, n. < dāya. 1. Patrimony, inheritance, wealth of an ancestor capable of inheritance and partition (R. F.); பாகத்திற்குரிய பிதிரார்ச்சிதப்பொருள். 2. Share; பங்கு. (யாழ். அக.) 3. Paternal relationship; தந்தைவழிச் சுற்றம். (யாழ். அக.) 4. A fall of the dice; கவறுருட்ட விழும்
விருத்தம். முற்பட இடுகின்ற தாயம் (கலித். 136, உரை). 5. Cubical pieces in dice-play; கவறு. (யாழ். அக.) 6. Number one in the game of dice; கவறுருட்ட விழும்
ஒன்று என்னும் எண். Colloq. 7. Gift, donation; கொடை. (யாழ். அக.) 8. Good opportunity; சமயவாய்ப்பு. (யாழ். அக.) 9. Affliction, distress; துன்பம். (யாழ். அக.) 10. Delay, stop; தாக்காட்டு. (W.) 11. A child's game played with seeds or shells on the ground; குழந்தை விளையாட்டுவகை. 12. Excellence, superiority; மேன்மை.
தாயமாம் பதுமினிக்கு (கொக்கோ. 1, 28).
Ivory is also used to record an inscription in Harappa:
The association of 'tree' hieroglyph with the 'standard divice' sangaḍa, 'lathe-brazier, kunda 'lathe' rebus kunda 'find gold' PLUS kamaṭamu. [Tel.] 'A portable furnace for melting the precious metals' rebus: kammaṭa 'mint' is explained.
kuṭi 'tree' Rebus: kuṭhī 'warehouse, factory' Thus, the standard device is evidence for a fine gold mint wtih metals manufactory and warehouse.
m1780 to 1783, h739, h195
m1779 A,B
m1780 A,B
Distribution of geometrical seals in Greater Indus Valley during the early and *Mature Harappan periods (c. 3000 - 2000 BCE). After Uesugi 2011, Development of the Inter-regional interaction system in the Indus valley and beyond: a hypothetical view towards the formation of the urban society' in: Cultural relagions betwen the Indus and the Iranian plateau during the 3rd millennium BCE, ed. Toshiki Osada & Michael Witzel. Harvard Oriental Series, Opera Minora 7. Pp. 359-380. Cambridge, MA: Dept of Sanskrit and Indian Studies, Harvard University: fig.7
h637 Four-angled.
Kot Diji type seals with concentric circles from (a,b) Taraqai Qila (Trq-2 &3, after CISI 2: 414), (c,d) Harappa(H-638 after CISI 2: 304, H-1535after CISI 3.1:211), and (e) Mohenjo-daro (M-1259, aftr CISI 2: 158). (From Fig. 7 Parpola, 2013).
I suggest that the 'dotted circle' also signifies on Indus Script corpora: ḍāv ʻdice-throwʼ Rebus: dhāu 'ore'.
Brahmi script syllables ḍha-, dha- are derived from Indus Script hieroglyphs: dhāv 'string, dotted circle' rebus: dhāu'ore'
Button seal. Harappa.
Fired steatite button seal with four concentric circle designs discovered at Harappa.
h855 A,B,C 3 Dotted circles
h354, h355, h352, h353 A,B,C Demonstrating three dotted circles as an allograph for three linear strokes PLUS rimless pot hieroglyph multiplex.
m1259
m1260
Dotted circles embellish geometric motifs of + hieroglyph on a number of Indu Script inscriptions
The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5 sides A to F.
Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features. Rebus readings of m0352 hieroglyphs:
Abiding Indus Script hypertext dotted circle is dhāv, dāya 'one in dice' + vaṭṭa 'circle' rebus धावड dhāvaḍa 'red ferrite ore smelter' https://tinyurl.com/y8fed8xd Dotted circle hieroglyhs are also shown on ivory counters.
Duck, dotted circles on Ivory rod, Mohenjo-daro seal, vartaka, karaṛa 'aquatic bird' Rebus karandi 'fire-god' (Munda.Remo), करडा [ karaḍā ] Hard from alloy--iron, silver &c. vartaka 'bell-metal merchant' dhāvaḍa 'iron smelter' https://tinyurl.com/yxfo2otj
[quote]A Counting Disc? Was this disc (Image 1) from Mohenjo-daro at the National Museum of Pakistan in Karachi used for counting? The circles with dots in the middle are identical to those found on other ivory objects from Mohenjo-daro thought to have been used as counters (2). Merchants or officials might have used these to keep track of goods, running their thumbs over the dots to track quantities. Or could there have been some other purpose?
Let us look at the counting argument. The disc seems to have three circles of dots, of 15, 11 and 6 dots. These add up to 34, which is not divisible by 8. We tend to think that Indus people, used a base eight system to count with, which corresponds to the sum of fingers on two hands, using the thumb to count with, as people still do. Yet looking at the other counters (2), only the final one (d) seems to largely have groups of 4 and 8 dots. The first object (a) has 7 dots, and is similar to a rectangular ivory object with 4 dots on it from Nausharo that might have been used as a counter or dice (Fig. 113, in Kenoyer, Ancient Cities of the Indus Valley Civilization, p. 214). The second (b) has a set of four dots on top, then what seem to be 3 dots (the bottom one is obscured but the dot and part of a circle is visible). The third counter (c) has 7 dots at the top, and then is broken into 5 groups of 3, which corresponds nicely to the 15 in the circular disc. Indeed, perhaps in the circular disc (1) it is not 6 but 7 dots in the innermost circle, for a grand total of 35? Neither do any of these numbers seem to fit a base 10 or decimal system that the Harappans also seem to have used.
Mark Kenoyer writes, of objects similar to those in the second image and specifically (c), that "bone and ivory counters with circles and lines, carved in ways that do not correspond to dice, may have been used for predicting the future" (Ancient Cities, p. 120).[unquote] https://www.facebook.com/KacchiPlains/
Tablets.Ivory objects. Mohenjo-daro.
Ivory rod, ivory plaques with dotted circles. Mohenjo-daro (Musee National De Arts Asiatiques, Guimet, 1988-1989, , Les cites oubliees de l’Indus Archeologie du Pakistan.] Tablets.Ivory objects. Mohenjo-daro. Hieroglyphs: Aquatic bird; dotted circles. Ivory rod, ivory plaques with dotted circles. Mohenjo-daro (Musee National De Arts Asiatiques, Guimet, 1988-1989, , Les cites oubliees de l’Indus Archeologie du Pakistan.] dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'. dATu 'cross' rebus: dhatu 'mineral'. Thus, the message signified by dotted circles and X hieroglyph refers to dhā̆vaḍ priest of 'iron-smelters'. The aquatic duck shown atop an ivory rod is: karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) Thus, the metalworker (smelter) works with hard alloys (using carburization process). Three dotted circles: kolom 'three' rebus: kolimi 'smithy, forge'. Thus working with minerals and hard alloys for smithy, forge.
The duck signifies vartaka 'duck' rebus: vartaka 'merchant'.
vartaka = a duck (Skt.) batak = a duck (Gujarati) vartikā quail (Rigveda) baṭṭai quail (Nepalese) vártikā f. ʻ quail ʼ RV. 2. vārtika -- m. lex. 3. var- takā -- f. lex. (eastern form ac. to Kātyāyana: S. Lévi JA 1912, 498), °ka -- m. Car., vārtāka -- m. lex. [Cf.vartīra -- m. Suśr., °tira -- lex., *vartakara -- ] 1. Ash. uwŕe/ ʻ partridge ʼ NTS ii 246 (connexion denied NTS v 340), Paš.snj. waṭīˊ; K. hāra -- wüṭü f. ʻ species of waterfowl ʼ (hāra -- < śāˊra -- ).2. Kho. barti ʻ quail, partridge ʼ BelvalkarVol 88.3. Pa. vaṭṭakā -- f., °ka -- in cmpds. ʻ quail ʼ, Pk. vaṭṭaya -- m., N. baṭṭāi (< vārtāka -- ?), A. batā -- sarāi, B. batui, baṭuyā; Si. vaṭuvā ʻ snipe, sandpiper ʼ (ext. of *vaṭu < vartakā -- ). -- With unexpl. bh -- : Or. bhāṭoi, °ṭui ʻ the grey quail Cotarnix communis ʼ, (dial.) bhāroi, °rui (< early MIA. *vāṭāka -- < vārtāka -- : cf. vāṭī -- f. ʻ a kind of bird ʼ Car.).Addenda: vartikā -- [Dial. a ~ ā < IE. non -- apophonic o (cf. Gk. o)/rtuc and early EMIA. vāṭī -- f. ʻ a kind of bird ʼ Car. < *vārtī -- ) (CDIAL 11361)
Rebus: paṭṭar-ai community; guild as of workmen (Ta.); pattar merchants (Ta.); perh. vartaka (Skt.) pātharī ʻprecious stoneʼ (OMarw.) (CDIAL 8857) பத்தர் pattar, n. perh. vartaka. Merchants; வியாபாரிகள். (W.) battuḍu. n. The caste title of all the five castes of artificers as vaḍla b*, carpenter. वर्तक mfn. who or what abides or exists , abiding , existing , living; n. a sort of brass or steel; merchant. వర్తకము vartakamu vartakamu. [Skt.] n. Trade, traffic, commerce. బేరము, వ్యాపారము. A sort of quail, Perdix oilvacca. వెలిచెపిట్ట, మీనవల్లంకిపిట్ట, వర్తకుడుvartakuḍu. n. A merchant, or trader. బేరముచేయువాడు.
Rebus: *varta2 ʻ circular object ʼ or more prob. ʻ something made of metal ʼ, cf. vartaka -- 2 n. ʻ bell -- metal, brass ʼ lex. and vartalōha -- . [√vr̥t?] Pk. vaṭṭa -- m.n., °aya -- m. ʻ cup ʼ; Ash. waṭāˊk ʻ cup, plate ʼ; K. waṭukh, dat. °ṭakas m. ʻ cup, bowl ʼ; S. vaṭo m. ʻ metal drinking cup ʼ; N. bāṭā, ʻ round copper or brass vessel ʼ; A. bāṭi ʻ cup ʼ; B. bāṭā ʻ box for betel ʼ; Or. baṭā ʻ metal pot for betel ʼ, bāṭi ʻ cup, saucer ʼ; Mth. baṭṭā ʻ large metal cup ʼ, bāṭī ʻ small do. ʼ, H. baṭṛī f.; G. M. vāṭī f. ʻ vessel ʼ.*aṅkavarta -- , *kajjalavarta -- , *kalaśavarta -- , *kṣāṇavartaka -- , *cūrṇavarta -- , parṇavartikā -- , *hiṅgulavarta -- .Addenda: *varta -- 2: Md. vař ʻ circle ʼ (vař -- han̆du ʻ full moon ʼ).(CDIAL 11347)
वृत्त [p= 1009,2] mfn. turned , set in motion (as a wheel) RV.; a circle; 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. waṭṭəwīˊk, waḍḍawik ʻ kidney ʼ ( -- wĭ̄kvr̥kká -- ) IIFL iii 3, 192?(CDIAL 12069) வட்டம்போர் vaṭṭam-pōr, n. < வட்டு +. Dice-play; சூதுபோர். (தொல். எழுத். 418, இளம்பூ.)வட்டச்சொச்சவியாபாரம் vaṭṭa-c-cocca-viyāpāram, n. < id. + சொச்சம் +. Money-changer's trade; நாணயமாற்று முதலிய தொழில். Pond. வட்டமணியம் vaṭṭa-maṇiyam, n. < வட் டம் +. The office of revenue collection in a division; வட்டத்து ஊர்களில் வரிவசூலிக்கும் வேலை. (R. T.) వట్ట (p. 1123) vaṭṭa vaṭṭa. [Tel.] n. The bar that turns the centre post of a sugar mill. చెరుకుగానుగ రోటినడిమిరోకలికివేయు అడ్డమాను. వట్టకాయలు or వట్టలు vaṭṭa-kāyalu. n. plu. The testicles. వృషణములు, బీజములు. వట్టలుకొట్టు to castrate. lit: to strike the (bullock's) stones, (which are crushed with a mallet, not cut out.) వట్ర (p. 1123) vaṭra or వట్రన vaṭra. [from Skt. వర్తులము.] n. Roundness. నర్తులము, గుండ్రన. వట్ర. వట్రని or వట్రముగానుండే adj. Round. గుండ్రని.
वर्तक a [p= 925,2] n. a sort of brass or steel वर्तः (Usually at the end of comp.) Living, liveli- hood; as in कल्यवर्त q. v. -Comp. -जन्मन् m. a cloud. -तीक्ष्णम्, -लोहम् bell-metal, a kind of brass.
11357vartalōha n. ʻ a kind of brass (i.e. *cup metal?) ʼ lex. [*varta -- 2 associated with lōhá -- by pop. etym.?]
Pa. vaṭṭalōha -- n. ʻ a partic. kind of metal ʼ; L.awāṇ. valṭōā ʻ metal pitcher ʼ, P. valṭoh, ba° f., vaṭlohā, ba° m.; N. baṭlohi ʻ round metal vessel ʼ; A. baṭlahi ʻ water vessel ʼ; B. bāṭlahi, bāṭulāi ʻ round brass cooking vessel ʼ; Bi. baṭlohī ʻ small metal vessel ʼ; H. baṭlohī, °loī f. ʻ brass drinking and cooking vessel ʼ, G. vaṭloi f.
Addenda: vartalōha -- : WPah.kṭg. bəlṭóɔ m. ʻ large brass vessel ʼ.
varta11348 *varta3 ʻ round stone ʼ. 2. *vārta -- . [Cf. Kurd. bard ʻ stone ʼ. -- √vr̥t1] 1. Gy. eur. bar, SEeur. bai̦ ʻ stone ʼ, pal. wăṭ, wŭṭ ʻ stone, cliff ʼ; Ḍ. boṭ m. ʻ stone ʼ, Ash. Wg. wāṭ, Kt. woṭ, Dm. bɔ̈̄'ṭ, Tir. baṭ, Niṅg. bōt, Woṭ.baṭ m., Gmb. wāṭ; Gaw. wāṭ ʻ stone, millstone ʼ; Kal.rumb. bat ʻ stone ʼ (bad -- váṣ ʻ hail ʼ), Kho. bort, Bshk. baṭ, Tor. bāṭ, Mai. (Barth) "bhāt" NTS xviii 125, Sv. bāṭ, Phal. bā̆ṭ; Sh.gil. băṭ m. ʻ stone ʼ, koh. băṭṭ m., jij. baṭ, pales. baṭ ʻ millstone ʼ; K. waṭh, dat. °ṭas m. ʻ round stone ʼ,vüṭü f. ʻ small do. ʼ; L. vaṭṭā m. ʻ stone ʼ, khet. vaṭ ʻ rock ʼ; P. baṭṭ m. ʻ a partic. weight ʼ, vaṭṭā, ba° m. ʻ stone ʼ, vaṭṭī f. ʻ pebble ʼ; WPah.bhal.baṭṭ m. ʻ small round stone ʼ; Or. bāṭi ʻ stone ʼ; Bi. baṭṭā ʻ stone roller for spices, grindstone ʼ. -- With unexpl. -- ṭṭh -- : Sh.gur. baṭṭh m. ʻ stone ʼ, gil. baṭhāˊ m. ʻ avalanche of stones ʼ, baṭhúi f. ʻ pebble ʼ (suggesting also an orig. *vartuka -- which Morgenstierne sees in Kho. place -- name bortuili, cf. *vartu -- , vartula -- ). 2. Paš.lauṛ. wāṛ, kuṛ. wō ʻ stone ʼ, Shum. wāṛ. vartaka -- 1; *vartadruṇa -- , *vartapānīya -- ; *aṅgāravarta -- , *arkavarta -- , *kaṣavartikā -- .
vartaka11349 vartaka1 m. ʻ *something round ʼ (ʻ horse's hoof ʼ lex.), vaṭṭaka -- m. ʻ pill, bolus ʼ Bhadrab. [Cf. Orm. waṭk ʻ walnut ʼ (wrongly ← IA. *akhōṭa -- s.v. akṣōṭa -- ). <-> √vr̥t1] Wg. wāṭi( -- štūm) ʻ walnut( -- tree) ʼ NTS vii 315; K. woṭu m., vüṭü f. ʻ globulated mass ʼ; L. vaṭṭā m. ʻ clod, lobe of ear ʼ; P. vaṭṭī f. ʻ pill ʼ; WPah.bhal. baṭṭi f. ʻ egg ʼ. vartaka -- 2 n. ʻ bell -- metal, brass ʼ lex. -- See *varta -- 2, vártalōha -- . vartakara11350 *vartakara ʻ making turns (of the quail) ʼ. [Pop. etym. for vártikā -- (vartīra -- m. Suśr., °tira -- m. lex.)? -- varta -- 1, kará -- 1] Ku. B. baṭer ʻ quail ʼ; Or. baṭara, batara ʻ the grey quail ʼ; Mth. H. baṭer f. ʻ quail ʼ; -- → P. baṭer, °rā m., °rī f., L. baṭērā m., S. baṭero m.; K.bāṭuru m. ʻ a kind of quail ʼ, baṭēra m. ʻ quail ʼ.
వడ్రంగి, వడ్లంగి, వడ్లవాడు [ vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu ] or వడ్లబత్తుడుvaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనముvaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్టvaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణముvaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లదిvaḍlata. n. A woman of the carpenter caste.
What do the headbands or fillets on artefacts, say, of statues of eminent persons, signify? paṭṭa is a badge of distinction. The wearer of the badge is recognized as a guide. It is an appellation of dignity, of high office in a community. Hence, the priests, purifiers, Potr̥,पोतृ, are identified by the paṭṭa 'badge' or fillet. Potr̥,पोतृ, are signified by trefoils: kolom 'three' Rebus: kolimi 'smithy,forge' PLUS Dotted circle khaṇḍa ‘A piece, bit, fragment, portion’; kandi ‘bead’ Rebus: khaṇḍā ‘tools, pots and pans and metal-ware’; kanda 'fire-altar'. pot ʻ glass bead ʼ (Bengali) Rebus: पोतृ [p= 650,1] प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; =यज्ञस्य शोधयिट्रिSa1y. ) RV. Br. S3rS. Hariv. Rebus: 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 pōtti, n. < போற்றி. 1. Grandfather; பாட்டன். Tinn. 2.Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன்.
See the dotted circle hieroglyph on the bottom of the sacred device, sangaḍa
A dotted circle (three of which constitute a trefoil) is also associated with the standard device frequently shown in front of a one-horned young bull:
Gold fillet showing sacred device--- sangaḍa.
Gold fillet depicting the standard device, Mohenjo-daro, 2600 BCE. [Source: Page 32 in: Deo Prakash Sharma, 2000, Harappan seals, sealings and copper tablets, Delhi, National Museum]. At a Marshall, MIC, Pl. CLI are specimens of fillets consisting of thin bands of beaten gold with holes for cords at their ends. Gold fillet, Mohenjo-daro, with Indus script hypertext of dotted circles, lathe, brazier signify पोतृ purifier priest of kole.l 'smithy, temple'. dāntā 'ivory' rebus dhāˊtu 'ore of red colour' (Rigveda)
m1654 Ivory cube with dotted circles Dotted circle hieroglyphs on each side of the cube (one dotted circle surrounded by 7 dotted circles): dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter).
Button seal. Baror, Rajasthan
Button tablet. Harappa. Dotted circles
Artifacts from Jiroft.
Ivory combs. Turkmenistan.
Ivory objects. Sarasvati Civilization
Ahar-Banas region of Rajasthan (close to the Khetri copper belt) is a copper complex.
Ahar-Banas culture finds point to copper/iron metalwork during the Chalcolithic period.
Iron points and nails from Gilund.
“The copper objects discovered at Gilund invite comparisons to the copper assemblages of Ahar, Balathal and Ojiyana…Implements fashioned from copper sheets are present at all the excavated Ahar-Banas sites except Purani Marmi…Although many scholars have noted the mineral wealth of the Aravalli Range, along which many Ahar-Banas sites are located, the number of copper objects discovered is surprisingly low…Misra suggested that the location of the furnace in the lowermost level indicated early knowledge of metallurgy…Copper technology at Gilund is also demonstrated by the presence of six vitrified fragments found in Middle to Late Chalcolithic trenches. They are blackened to the point that the flay has become like pumice, and one of the fragments still has what appear to be pieces of copper attached to the inside. It is likely that these fragments were once part of one or more crucibles used in the smelting of copper…copper technology was practiced by the inhabitants of Ahar-Banas sites in Rajasthan during the Chalcolithic.” (opcit., p.18)
Humped bull figurines. Gilund. Source: Julie Hanlon, 2007, An Overview of the Antiquities from the 1999-2005 Excavations at Gilund, a Chalcolithic Site in Southeast Rajasthan, in:The Gilund Project:Excavations in Teresa P. Raczek and Vasant Shinde (eds), 2007, Regional Context. Proceedings of the 19th Meeting of theEuropean Association of South Asian Archaeologyin Ravenna, Italy, July 2007, p.14. Note: List of artifacts excavated from Gilund between 1999 to 2005 included 130 metal objects: Bangles Bells Blades Hoe fragments Nails Points Rings.
Cache of Seal Impressions Discovered in Western India Offers Surprising New Evidence For Cultural Complexity in Little-known Ahar-Banas Culture, Circa 3000-1500 B.C.E
Circular seal, of steatite, from Bahrein, found at Lothal.A Stamp seal and its impression from the Harappan site of Lothal north of Bombay, of the type also found in the contemporary cultures of southern Iraq and the Persian Gulf Area. http://www.penn.museum/sites/expedition/archaeology-in-india/melh, mr̤eka 'goat or antelope' rebus: milakkhu 'copper'
Three lines hieroglyph: kolom 'three' rebus: kolimi 'smithy, forge'
Dotted circle hieroglyph: dot + circles = dāya 'one in dice' + vaṭṭa 'circle' ... M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ(whence dhā̆vaḍ 'smelter of iron'
I suggest that the centipede together with goat hieroglyph signifies rebus: pāḍā milakkhu
'village or quarter (of coppersmiths)'.
pāv ʻ foot (of centipede)(Kashmiri)(CDIAL 8075) śatápad ʻ having a hundred feet ʼ RV., m. ʻ centipede ʼ Suśr., śatapadī -- f. Suśr. [śatá -- , pád -- 2] Pa. satapadī -- f. ʻ centipede ʼ, Pk. sayavaī -- f., Wg. šawoṛa. -- Dm. ṣawák? -- Paš.ar. dašáp, ˚šāˊp, chil. dāṣék, Shum. šádap early ← Sk. IIFL iii 3, 60. -- Poss. Kal.rumb. urt. šivilá, but see śipavitnuká -- .(CDIAL 12281) Rebus: Rebus: Ta. pāṭi
town, city, hamlet, pastoral village; pāṭam street, street of herdsmen. Ma. pāṭi (in n.pr. of villages). Ka.pāḍi settlement, hamlet, village. Koḍ. pa·ḍi hut of a Kurumba. Te. pāḍu village (at the end of names of places). / Cf. Skt. pāṭaka- a kind of village, half a village (from which are borrowed Ta. pāṭakam street, section of a village, Ma. pāṭakampart of a village); Turner, CDIAL, no. 8031, to which add Mar. pāḍā hamlet or cluster of houses of agriculturalists (also Guj., Beng., etc.); MBE 1974a, p. 132, n. 17. DED 3347. (DEDR 4064) pāṭaka m. ʻ quarter of a town or village ʼ. [← Drav. T. Burrow BSOAS xii 383, but perh. same as pāṭa<-> EWA ii 245]S. pāṛo m. ʻ quarter of a town, vicinity ʼ; H. pāṛā m. ʻ quarter of a town ʼ.Addenda: pāṭaka -- m. ʻ kind of village, part of village ʼ lex. [MIA. pāḍa(ya) -- ʻ quarter, street ʼ ~ Drav. Tam. pāṭa(ka)mid. DED 3347 and perh. conn. pallī -- 1 ← Drav. DED 3309]Pk. pāḍa -- , pāḍaya -- m.; A. pārā, B. pāṛā, Or. paṛā, H. pāṛā m., M. pāḍā m. (CDIAL 8031) pāṭa m. ʻ breadth, expanse ʼ lex., ˚aka -- m. ʻ long span, flight of steps ʼ lex. [√paṭ1?]Pa. pāṭikā -- f. ʻ stone steps ʼ; Pk. pāḍaa -- m. ʻ road ʼ; Kho. (Lor.) pāḷ ʻ resting -- place in a cliff, ledge ʼ (or poss. < *pādaḍa -- ); L. pāṛ m. ʻ pit sunk to the sand in which a well is built ʼ, (Shahpur) ʻ hole made by thief in a hedge ʼ, pāṛā m. ʻ space left in ploughing ʼ, awāṇ. pāṛ ʻ hole ʼ; P. pāṛā m. ʻ space, space between two lines of ploughed land ʼ; N. pāro ʻ shaft in handle of khukri or any instrument ʼ, kan -- pāro ʻ temple, brow, gill ʼ (: kān ʻ ear ʼ); H. pāṛ(ā) m. ʻ scaffold, wooden frame over a well ʼ. (CDIAL 8030) padrá m. ʻ village, road in a village ʼ lex. [← Drav. cf. Kur. padda ʻ village ʼ? -- Whether or not connected with pallī1 (also ← Drav.), scarcely, with EWA ii 236, hyper -- sanskritism for this, since NIA. forms attest early padra -- ]Pk. padda -- n. ʻ site of a village, small village ʼ; B. pāṛā ʻ quarter of a village ʼ; Or. paṛā ʻ quarter of a town or village, village ʼ; H. pāṛā m. ʻ quarter of a town ʼ; G. pādar n. ʻ gate of a village, confines of a village, uncultivated land near a village ʼ.*vaṭapadra -- .Addenda: padrá -- : with Pk. padda -- , G. pādar (= S.kcch. padhar m. ʻ confines of a village ʼ) same as or X *paddhara -- ? -- and to be distinguished from B. pāṛā, Or. paṛā, H. pāṛā (= A. pārā ʻ settlement, quarter of a village ʼ) < pāṭaka -- . (CDIAL 7780) *padu ʻ place, quarter ʼ. [Contained in padavīˊ -- m. ʻ place (?) ʼ RV., ʻ footsteps, way ʼ MBh., ʻ place ʼ R. <-> pád -- 2]S. pãũ m. ʻ ace in dice (i.e. a quarter of the highest throw of 4 dots) ʼ, P. pau m., N. pau, Or. paa, OAw. paü m., H. pau f., G. po m., M. pav, pau m. (CDIAL 7764) Ta. paṭṭi cow-stall, sheepfold, hamlet, village; paṭṭam sleeping place for animals; paṭṭu hamlet, small town or village; paṭṭiṉam maritime town, small town; paṭappu enclosed garden; paṭappai id., backyard, cowstall. Ma. paṭṭi fold for cattle or sheep. Ko. paṭy Badaga village. To. oṭy id. (< Badaga haṭṭi). Ka. paṭṭi pen or fold, abode, hamlet; paṭṭa city, town, village. Tu. paṭṭů nest. Te. paṭṭu abode, dwelling place. / Cf. Turner, CDIAL, no. 7705, paṭṭana- (DEDR 3868)वाडा vāḍā m (वाट or वाटी S) A stately or large edifice, a mansion, a palace. Also in comp. as राज- वाडा A royal edifice; सरकारवाडा Any large and public building. 2 A division of a town, a quarter, a ward. Also in comp. as देऊळवाडा, ब्राह्मण- वाडा, गौळीवाडा, चांभारवाडा, कुंभारवाडा. 3 A division (separate portion) of a मौजा or village. The वाडा, as well as the कोंड, paid revenue formerly, not to the सरकार but to the मौजेखोत. 4 An enclosed space; a yard, a compound. 5 A pen or fold; as गुरांचावाडा, गौळवाडा or गवळीवाडा, धन- गरवाडा. The pen is whether an uncovered enclosure in a field or a hovel sheltering both beasts. वाडी vāḍī f (वाटी S) An enclosed piece of meaand keepers. dow-field or garden-ground; an enclosure, a close, a paddock, a pingle. 2 A cluster of huts of agriculturists, a hamlet. Hence (as the villages of the Konkan̤ are mostly composed of distinct clusters of houses) a distinct portion of a straggling village. 3 A division of the suburban portion of a city.(Marathi)
Broad strap antarīya on Gardez Gaṇeśa pratimā is Indus Script hypertext to signify metals (iron) manufactory of Sarasvati civilization. Amarakośa provides a synonym for Gaṇeśa with the expression tri-dhātu, 'three minerals'.
The pratimā has vivid iconographic details to further elaborate on the metaphor of Gaṇeśa an iron smelter, a wealth-accounting ledger keeper, a scribe.
Gaṇeśa wears an unusual crown, shaped like a wicker basket. The rebus reading of the crown worn by Gaṇeśa is karaṇḍa hieroglyph करंडी karaṇḍī f (Dim. of करंडा) A little covered basket of bamboo. karaṇḍa'wicker-basket' rebus: करडा karaḍā'Hard from alloy--iron, silver &38' A similar sounding word signifies that Gaṇeśa is a scribe, writer: खरड kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch.खरडा kharaḍā a day-book; a note-book. Thus, Gaṇeśa is keeper of a day-book, wealth-accounting ledger.
These metaphors are conveyed by the karaṇḍa-shaped mukuṭa 'crown' worn by Mahāvināyaka of Gardez. Elephant trunk: karibha, ibha 'elephant' rebus: karba, ib 'iron'; ib 'stylus' (as in English nib of stylus).
Gaṇeśa wears a yajñopavita, 'sacred thread' adorned with a cobra-hood:phaḍā'cobra hood'rebus phaḍā,paṭṭaḍe'metals manufactory'. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith. panja 'claw of beast, feline paw' rebus: panja 'kiln'.
Thousands of Gaṇeśa pratimā also show a mouse:mūṣa 'mouse' rebus: mūṣa 'crucible'. Thus, Gaṇeśa is an iron worker producing crucible steel. This metallurgical competence makes him the leader of the guild, ironworker guild-master,Mahāvināyaka.
A 5th century marble Ganesha found in Gardez, Afghanistan, now at Dargah Pir Rattan Nath, Kabul. The inscription says that this "great and beautiful image of Mahāvināyaka" was consecrated by the Shahi King Khingala. For photograph of statue and details of inscription, see: Dhavalikar, M. K., 1991, "Gaņeśa: Myth and Reality" in: In: Brown RL (ed) Ganesh: studies of an Asian God. State University of New York, pp.50,63. The inscriptionsays that this "great and beautiful image of Mahāvināyaka" was consecrated by the Shahi King Khingala.
I suggest that the paw of a feline is signified below the feline's face; the word is panja 'claw, paw' rebus: panja 'kiln' of metals manufactory: *pañjāpāka ʻ kiln for a heap ʼ. [*pañja -- , āpāka -- ]P. pañjāvā, pãj° m. ʻ brick kiln ʼ; B. pã̄jā ʻ kiln ʼ, G. pajāvɔ m (CDIAL 7686) panzĕ पन्ज़्य m. the wound made by an animal's claw (cf. panja) (K. 678). panja पंज । पञ्चसंख्यात्मकः, अङ्गुलिपञ्चकसंघः m. an aggregate of five; a five (in cards, on dice, or the like); the hand with the five fingers extended (cf. atha-po, p. 61b, l. 2) (Gr.M.); the paw or claw of beast or bird (Gr.M.; Rām. 41, 61, 697-8, 73; H. xii, 16-17). -- dyunu ; । पञ्चकाघातः m.inf. 'to give the five', i.e. to strike with the five fingers, to scratch with the five finger-nails or (of a wild beast) to tear with the claws. -ʦoṭu ; । छिन्नपञ्चशाखः adj. (f. -ʦüṭü ), one whose fingers, toes, or claws have all been cut off (of man, beast, or bird). panjī पंजी f. a bird's talon (El.); the five fingers (El. panjih, cf. panja; W. 114, panji).(Kashmiri) *pañja -- ʻ heap ʼ *pahuñca ʻ forearm, wrist ʼ. L. pôcā m. ʻ paw ʼ, (Shahpur) paucā m. ʻ paw, claw ʼ; P. pahũcā m. ʻ wrist, paw ʼ; N. paũjā ʻ paw ʼ; OAw. pahuṁcihi obl. sg. f. ʻ wrist ʼ; H. pahũcā m. ʻ forearm, wrist ʼ; G. pɔ̃hɔ̃cɔ m. ʻ wrist ʼ, M. pohãcī f. PĀ1 ʻ drink ʼ: pa -- 1, pāˊtra -- , pāˊna -- , pānīˊya -- , pāyáyati, *pipāsaka -- , pipāsāˊ -- , pipāsitá -- , píbati, pītá -- 1, pīyátē, pēya -- ; āpāna -- 1, nipāna -- , prapāˊ -- . PĀ2 ʻ protect ʼ: pa -- 2, pā -- ; *āpāna -- 2. pā -- in cmpds. ʻ protecting ʼ: adhipāˊ -- , tanūpāˊ -- , paśupāˊ -- ; -- pa -- 2. Addenda: *pahuñca -- : S.kcch. paũco m. ʻ wrist ʼ, WPah.kṭg. pɔ́̄nj̈ɔ m.(CDIAL 8018)
Gaṇeśasignified by फड, ‘a cobrahood’ on his body (cf. Mahāvināyaka, Gardez), is theफडनिशी or सीphaḍaniśī or sī f The office or business of फडनीस. फडनीसphaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. नीस nīsa m (निसणें) Sum, substance, essence; the extract or excerptum; the good portion picked out. v काढ, निघ. 2 Scrutiny or close inquiry into. v कर, काढ, पाह, पुरव g. of o. 3 नीस is sometimes used as ad or in comp. with the sense Essentially or purely, i. e. altogether, utterly; as नीस नंगा Wholly bare, void, or destitute (of money, decency &c.) ; नकलनविशी nakalanaviśī or -निशी f ( P) The office or business of नकलनवीस.; नकलनवीस nakalanavīsa or -नीस m ( P) A transcriber or copyist. Gaṇeśa is the account-in-charge recording wealth of a nation.
Ali Hakemi in Shahdad. Hakemi, Ali, 1997, Shahdad, archaeological excavations of a bronze age center in Iran, Reports and Memoirs, Vol. XXVII, IsMEO, Rome. 766 pp.“The shaft is set on a 135 mm high pyramidal base. The thin metal plate is a square with curved sides set in a 21 mm wide frame. On the plate there is a figure of a goddess sitting on a chair and facing forward. The goddess has a long face, long hair and round eyes. Her left hand is extended as if to take a gift…a square garden divided into ten squares. In the center of each square there is a small circle. Beside this garden there is a row of two date palm trees…Under this scene the figure of a bull flanked by two lions is shown…The sun appears between the heads of the goddess and, one of the women and it is surrounded by a row of chain decorative motives.” (p.271, p.649). The inscriptional evidence discovered at this site which is on the crossroads of ancient bronze age civilizations attests to the possibility of Meluhha settlements in Shahdad, Tepe Yahya and other Elam/Susa region sites. The evolution of bronze age necessitated a writing system -- the answer was provided by Indus writing using hieroglyphs and rebus method of rendering Meluhha (mleccha) words of Indian sprachbund.
Shown are the glyphs of 1. zebu and 2. tigers which are also glyphs on Indus writing which I decode as related respectively to 1. blacksmithy on unsmelted metal (Adar Dhangar, zebu) 2. working with alloys (kol, tiger) !!! The tree is a smelter furnace (kuTi). The endless-knot motif is iron (meD, knot, iron).
Two possible rebus readings: 1. pajhaṛ ‘kite’. Rebus: pasra ‘smithy, forge’ (Santali) 2. śyēná m. ʻhawk, falcon, eagleʼ RV.Pa. sēna -- , °aka -- m. ʻhawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻkiteʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻfalcon, eagle, kiteʼ. (CDIAL 12674) Rebus: Senaka a carter ThA 271 (=sākaṭika of Th 2, 443) (Pali) sēnāpati m. ʻ leader of an army ʼ AitBr. [sḗnā -- , páti -- ] Pa. sēnāpati -- , °ika -- m. ʻgeneralʼ, Pk. sēṇāvaï -- m.; M. śeṇvaī, °vī, śeṇai m. ʻa class of Brahmansʼ, Ko. śeṇvi; Si. senevi ʻgeneralʼ (CDIAL 13589).
Three pots are shown of three sizes in the context of kneeling adorants seated in front of the person seated on a stool. meṇḍā 'kneeling position' (Gondi) Rebus: meḍ 'iron' (Munda)
eruvai 'kite' Rebus:eruvai 'copper'
dula 'pair' Rebus: dul 'cast metal'
arya 'lion' (Akkadian) Rebus: Ara 'brass'
kul, kOla 'tiger' Rebus: kol 'working in iron'
poLa 'zebu' Rebus: poLa 'magnetite'
kōla = woman (Nahali) Rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five
metals, pañcaloha’ (Tamil) kol ‘working in iron’ (Tamil) kaṇḍō a stool. Malt. Kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace,
altar (Santali) If the date palmdenotes tamar (Hebrew language), ‘palmtree, date palm’ the rebus reading would be: tam(b)ra, ‘copper’ (Pkt.)
kuṭi ‘tree’. Rebus: kuṭhi ‘smelter’ (Santali). The two trees are shown ligatured to
a rectangle with ten square divisions and a dot in each square. The dot may
denote an ingot in a furnace mould.
Hieroglyph: BHSk. gaṇḍa -- m. ʻ piece, part ʼ(CDIAL 3791)
Hieroglyph: Paš. lauṛ. khaṇḍā ʻ cultivated field ʼ, °ḍī ʻ small do. ʼ (→ Par. kheṇ ʻ field ʼ IIFL i 265); Gaw. khaṇḍa ʻ hill pasture ʼ (see also bel.)(CDIAL 3792)
Rebus: khaṇḍa 'implements'
Santali glosses
Glyph of rectangle with divisions: baṭai = to divide, share (Santali) [Note the
glyphs of nine rectangles divided.] Rebus: bhaṭa = an oven, kiln, furnace
(Santali)
ḍāḷ= a branch of a tree (G.) Rebus: ḍhāḷako = a large ingot (G.) ḍhāḷakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (G.)
Three sets of entwined 'glyphs (like twisted ropes) are shown around the entire narrative of the Shahdad standard.
Twisted rope as hieroglyph:
Rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn.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. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ)(CDIAL 6773).
Fig. 9 Fragment of an Iranian Chlorite Vase. 2500-2400 BCE
Decorated with the lion headed eagle (Imdugud) found in the temple of Ishtar during the 1933 - 1934 fieldwork by Parrot. Dated 2500 - 2400 BCE. Louvre Museum collection AO 17553.
'Twisted rope' which is identified as an Indus Script hieroglyph is signified on the following 14 artifacts of Ancient Near East, dated from ca. 2400 to 1650 BCE:
sena 'kite' rebus: sena 'chisel'; eruvai 'kite' dula 'pair' eraka 'wing' Rebus: eruvai dul 'copper cast metal' eraka 'moltencast' PLUS dhāu 'strand of rope' Rebus: dhāv 'red ore' (ferrite) ti-dhāu 'three strands' Rebus: ti-dhāv 'three ferrite ores: magnetite, hematite, laterite'.
Double-headed eagle on a stamp seal from the Assyrian trading colony of Hattuŝa (Bittel, Kurt. 1970 Hattusha: The Capital of the Hittites. New York: Oxford University Press.Plate 7) Two-headed eagle surrounded by a twisted cord.From Kültepe-Kanis, 18th c. B.C. (Museum Ankara).
Doouuble eagle. Seal impression
A stranded rope as a hieroglyph signifies dhAtu rebus metal, mineral, ore. This occurs on Ancient Near East objects with hieroglyphs such as votive bas-relief of Dudu, priest of Ningirsu in the time of Entemena, prince of Lagash C. 2400 BCE Tello (ancient Girsu), eagle and stranded rope from Bogazhkoy. Indus Script decipherment of these hieroglyph-multiplexes confirms the underlying Prakritam as an Indo-European language and Indus Script Corpora is emphatically catalogus catalogorum of metalwork of the Bronze Age in Ancient Near East.
As Hans J. Nissen notes the framework for late emergence of a writing system for language: “The main reason we cannot read these early texts is the fact that writing initially was nothing more than a means, more comprehensive than those employed before, of recording the details of economic transactions. Seals and clay counters (small clay artifacts in geometric shapes that represented numbers or quantities) had been used since the sixth millennium. In order to reconstruct specific transactions, seals were relied upon to identify the participants, and token, or counters, identified the amounts and numbers of the commodities involved. Shortly before the appearance of script, attempts were made to expand the range of information to be recorded by using sealed clay balls impressed by cylinder seals and containing counters, but only writinf offered the possibility of noting all items deemed necessary. Yet even the writing system was predicated on common knowledge, since only abbreviated pieces of the total body of information were written down. Obviously, writing represented an answer to the urgent needs of the economic administration and not a desire to write religious, historical, or literary texts. Thus, there was no incentive to render the spoken language. In fact, this need was felt only six hundred or seven hundred years later (i.e. after complete restructuring the central area of the city of Uruk period III (about 3000 BCE), when the system was organized to allow for the full representation of language. Of the approximately fifteen hundred clay tablets and fragments that can be ascribed to the time of Level IVa, all except a few pieces contain information pertaining to a central economic administration, which seems to have had its seat in E-anna...The few nonadministrative texts recovered mentioned lists of signs or sign combinations that belong to the same semantic family, such as names of trees, animals, and places...Like writing, seals undoubtedly were part of the economic system. Cylinder seals bear easily recognizable images of a wider range of elaborate themes and variations than the earlier stamp seals with their limited surfaces. These variations allowed more and more people to be equipped with individual seal patterns. Thus, we can assume that cylinder seals developed as a response to an increase in the numbers of people involved in economic transactions.” (Nissen, Hans J., Uruk and Formation of the City in: Joan Aruz, 2003, Art of the First Cities: the third millennium BCE from the Mediterranean to the Indus, New York, Metropolitan Museum of Art)pp. 11-14).
Drawing of a Babylonian seal impression; 3rd millennium BCE (Wittkower, Rudolf. 1939 Eagle and Serpent: A Study in the Migration of Symbols. Journal of the Warburg Institute 2(4): 293-325, Plate 49d Eagle nd hooded snakes).
Twisted rope as hieroglyph on a plaque.
Dudu plaque. Votive bas-relief of Dudu, priest of Ningirsu in the time of Entemena, prince of Lagash, ca. 2400 BCE Tello (ancient Girsu)
Bituminous stone
H. 25 cm; W. 23 cm; Th. 8 cm
De Sarzec excavations, 1881 , 1881
AO 2354
Alternative hieroglyph: मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) eruvai 'eagle' Rebus: eruvai 'copper'. kōḍe, kōḍiya. [Tel.] n. A bullcalf. Rebus: koḍ artisan’s workshop (Kuwi) kunda ‘turner’ kundār turner (Assamese) मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
I suggest that the hieroglyphs on the Dudu plaque are: eagle, pair of lions, twisted rope, calf
Hieroglyph: eruvai 'kite' Rebus: eruvai 'copper'
Hieroglyph: arye 'lion' (Akkadian) Rebus: Ara 'brass'
Hieroglyph: dām m. ʻ young ungelt ox ʼ: damya ʻ tameable ʼ, m. ʻ young bullock to be tamed ʼ Mn. [~ *dāmiya -- . -- √dam]Pa. damma -- ʻ to be tamed (esp. of a young bullock) ʼ; Pk. damma -- ʻ to be tamed ʼ; S. ḍ̠amu ʻ tamed ʼ; -- ext. -- ḍa -- : A. damrā ʻ young bull ʼ, dāmuri ʻ calf ʼ; B.dāmṛā ʻ castrated bullock ʼ; Or. dāmaṛī ʻ heifer ʼ, dāmaṛiā ʻ bullcalf, young castrated bullock ʼ, dāmuṛ, °ṛi ʻ young bullock ʼ.Addenda: damya -- : WPah.kṭg. dām m. ʻ young ungelt ox ʼ.(CDIAL 6184). This is a phonetic determinative of the 'twisted rope' hieroglyph: dhāī˜ f.dāˊman1ʻ rope ʼ (Rigveda)
Dudu, sanga priest of Ningirsu, dedicatory plaque with image of Anzud (Imdugud)
Hieroglyph: endless knot motif
After Fig. 52, p.85 in Prudence Hopper opcit. Plaque with male figures, serpents and quadruped. Bitumen compound. H. 9 7/8 in (25 cm); w. 8 ½ in. (21.5 cm); d. 3 3/8 in. (8.5 cm). ca. 2600-2500 BCE. Acropole, temple of Ninhursag Sb 2724. The scene is described: “Two beardless, long-haired, nude male figures, their heads in profile and their bodies in three-quarter view, face the center of the composition…upper centre, where two intertwined serpents with their tails in their mouths appear above the upraised hands. At the base of the plaque, between the feet of the two figures, a small calf or lamb strides to the right. An irregular oblong cavity or break was made in the centre of the scene at a later date.”
The hieroglyphs on this plaque are: kid and endless-knot motif (or three strands of rope twisted).
Hieroglyph: 'kid': करडूं or करडें (p. 137) [ karaḍū or ṅkaraḍēṃ ] n A kid. कराडूं (p. 137) [ karāḍūṃ ] n (Commonly करडूं) A kid. Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c.(Marathi)
I suggest that the center of the composition is NOT set of intertwined serpents, but an endless knot motif signifying a coiled rope being twisted from three strands of fibre.
m1406 Seal using three-stranded rope: dhAtu Rebus: iron ore.
Hieroglyph: धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g.त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773)
Rebus: M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ;(CDIAL 6773) धातु primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]) (Monier-Williams. Samskritam).
Dāma (nt.) [Sk. dāman to dyati to bind (Gr. di/dhmi), *dē, as in Gr. de/sma (rope), dia/dhma (diadem), u(po/dhma (sandal)] a bond, fetter, rope; chain, wreath, garland S iv.163 (read dāmena for damena), 282, (id.); A iii.393 (dāmena baddho); Sn 28 (=vacchakānaŋ bandhanatthāya katā ganthitā nandhipasayuttā rajjubandhanavisesā); Vism 108. Usually -- ˚, viz. anoja -- puppha˚ J i.9; vi.227; olambaka˚ VvA 32; kusuma˚ J iii.394; gandha˚ J i.178; VvA 173, 198; puppha˚ Ji.397; VvA 198; mālā˚ J ii.104; rajata˚ J i.50; iii.184; iv.91; rattapuppha˚ J iii.30; sumana˚ J iv.455. (Pali) दामन् n. [दो-मनिन्] 1 A string, thread, fillet, rope. -2 A chaplet, a garland in general; आद्ये बद्धा विरहदिवसे या शिखा दाम हित्वा Me.93; कनकचम्पकदामगौरीम् Ch. P.1; Śi.4.5. -3 A line, streak (as of lightning); वुद्युद्- दाम्ना हेमराजीव विन्ध्यम् M.3.2; Me.27. -4 A large bandage. -5 Ved. A gift. -6 A portion, share. -7 A girdle. -Comp. -अञ्चलम्, -अञ्जनम् a foot-rope for horses, &c.; सस्रुः सरोषपरिचारकवार्यमाणा दामाञ्चलस्खलितलोलपदं तुरङ्गाः Śi.5.61. -उदरः an epithet of Kṛiṣṇa. dāmanī दामनी A foot-rope. dāmā दामा A string, cord. धामन् dhāman A fetter. dāˊman1 ʻ rope ʼ RV. 2. *dāmana -- ,dāmanī -- f. ʻ long rope to which calves are tethered ʼ Hariv. 3. *dāmara -- . [*dāmara -- is der. fr. n/r n. stem. -- √dā2]1. Pa. dāma -- , inst. °mēna n. ʻ rope, fetter, garland ʼ, Pk. dāma -- n.; Wg. dām ʻ rope, thread, bandage ʼ; Tir. dām ʻ rope ʼ; Paš.lauṛ. dām ʻ thick thread ʼ, gul. dūm ʻ net snare ʼ (IIFL iii 3, 54 ← Ind. or Pers.); Shum. dām ʻ rope ʼ; Sh.gil. (Lor.) dōmo ʻ twine, short bit of goat's hair cord ʼ, gur. dōm m. ʻ thread ʼ (→ Ḍ. dōṅ ʻ thread ʼ); K. gu -- dômu m. ʻ cow's tethering rope ʼ; P. dã̄u, dāvã̄ m. ʻ hobble for a horse ʼ; WPah.bhad. daũ n. ʻ rope to tie cattle ʼ, bhal. daõ m., jaun. dã̄w; A. dāmā ʻ peg to tie a buffalo -- calf to ʼ; B. dām, dāmā ʻ cord ʼ; Or. duã̄ ʻ tether ʼ, dāĩ ʻ long tether to which many beasts are tied ʼ; H. dām m.f. ʻ rope, string, fetter ʼ, dāmā m. ʻ id., garland ʼ; G. dām n. ʻ tether ʼ, M. dāvẽ n.; Si. dama ʻ chain, rope ʼ, (SigGr) dam ʻ garland ʼ. -- Ext. in Paš.dar. damaṭāˊ, °ṭīˊ, nir. weg. damaṭék ʻ rope ʼ, Shum.ḍamaṭik, Woṭ. damṓṛ m., Sv. dåmoṛīˊ; -- with -- ll -- : N. dāmlo ʻ tether for cow ʼ, dã̄wali, dāũli, dāmli ʻ bird -- trap of string ʼ, dã̄wal, dāmal ʻ coeval ʼ (< ʻ tied together ʼ?); M. dã̄vlī f. ʻ small tie -- rope ʼ.
2. Pk. dāvaṇa -- n., dāmaṇī -- f. ʻ tethering rope ʼ; S. ḍ̠āvaṇu, ḍ̠āṇu m. ʻ forefeet shackles ʼ, ḍ̠āviṇī, ḍ̠āṇī f. ʻ guard to support nose -- ring ʼ; L. ḍã̄vaṇ m., ḍã̄vaṇī, ḍāuṇī(Ju. ḍ̠ -- ) f. ʻ hobble ʼ, dāuṇī f. ʻ strip at foot of bed, triple cord of silk worn by women on head ʼ, awāṇ. dāvuṇ ʻ picket rope ʼ; P. dāuṇ, dauṇ, ludh. daun f. m. ʻ string for bedstead, hobble for horse ʼ, dāuṇī f. ʻ gold ornament worn on woman's forehead ʼ; Ku. dauṇo m., °ṇī f. ʻ peg for tying cattle to ʼ, gng. dɔ̃ṛ ʻ place for keeping cattle, bedding for cattle ʼ; A. dan ʻ long cord on which a net or screen is stretched, thong ʼ, danā ʻ bridle ʼ; B. dāmni ʻ rope ʼ; Or. daaṇa ʻ string at the fringe of a casting net on which pebbles are strung ʼ, dāuṇi ʻ rope for tying bullocks together when threshing ʼ; H. dāwan m. ʻ girdle ʼ, dāwanī f. ʻ rope ʼ, dã̄wanī f. ʻ a woman's orna<-> ment ʼ; G. dāmaṇ, ḍā° n. ʻ tether, hobble ʼ, dāmṇũ n. ʻ thin rope, string ʼ, dāmṇī f. ʻ rope, woman's head -- ornament ʼ; M. dāvaṇ f. ʻ picket -- rope ʼ. -- Words denoting the act of driving animals to tread out corn are poss. nomina actionis from *dāmayati2.
3. L. ḍãvarāvaṇ, (Ju.) ḍ̠ã̄v° ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves together ʼ, Or. daũ̈rā, daürā ʻ rope ʼ; Bi. daũrī ʻ rope to which threshing bullocks are tied, the act of treading out the grain ʼ, Mth. dã̄mar, daũraṛ ʻ rope to which the bullocks are tied ʼ; H. dã̄wrī f. ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to tread out the corn ʼ. -- X *dhāgga<-> q.v.*dāmayati2; *dāmakara -- , *dāmadhāra -- ; uddāma -- , prōddāma -- ; *antadāmanī -- , *galadāman -- , *galadāmana -- , *gōḍḍadāman -- , *gōḍḍadāmana -- , *gōḍḍadāmara -- .dāmán -- 2 m. (f.?) ʻ gift ʼ RV. [√dā1]. See dāˊtu -- .*dāmana -- ʻ rope ʼ see dāˊman -- 1.Addenda: dāˊman -- 1. 1. Brj. dã̄u m. ʻ tying ʼ.3. *dāmara -- : Brj. dã̄wrī f. ʻ rope ʼ.(CDIAL 6283)
Fig. 1 First cylinder seal-impressed jar from Taip 1, Turkmenistan Fig. 2 Hematite cylinder seal of Old Syria ca. 1820-1730 BCE Fig. 3 Hematite seal. Old Syria. ca. 1720-1650 BCE Fig. 4 Cylinder seal modern impression. Mitanni. 2nd millennium BCE Fig. 5 Cylinder seal modern impression. Old Syria. ca. 1720-1650 BCE Fig. 6 Cylinder seal. Mitanni. 2nd millennium BCE Fig. 7 Stone cylinder seal. Old Syria ca. 1720-1650 BCE Fig. 8 Hematite cylinder seal. Old Syria. ca. early 2nd millennium BCE Fig. 9 Fragment of an Iranian Chlorite Vase. 2500-2400 BCE
Fig.10 Shahdad standard. ca. 2400 BCE Line drawing Fig.11 Cylinder seal. 2 seated lions. Twisted rope. Louvre AO7296Fig.12 Cylinder seal. Sumerian. 18th cent. BCE. Louvre AO 22366Fig.13 Bogazkoy Seal impression ca. 18th cent. BCE Fig.14 Dudu plaque.Votive bas-relief of Dudu, priest of Ningirsu in the time of Entemena, prince of Lagash, ca. 2400 BCE Tello (ancient Girsu)
The orthography of the 'twisted rope' is characterised by an endless twist, sometimes signified with three strands of the rope.
Meluhha rebus-metonymy Indus Script cipher on all the 14 seals/artifacts is:
Hieroglyph:ti-dhAtu'three strands' Rebus: ti-dhAtu 'three red stone ores: magnetite, hematite, laterite'.
The three ores are:poLa'magnetite',bica'hematite',goTa'laterite'. The hieroglyphs signifying these mineral ores are:poLa'zebu',bica'scorpion'goTa'round object or seed'.
Some associated hieroglyphs on the 14 seals/artifacts are:
Hieroglyph: poLa 'zebu' Rebus: poLa 'magnetite' (Fig.1)
Hieroglyph: dula 'pair' Rebus: dul 'cast metal'. (Fig.3)
The semantic elaboration ofdhāv 'a red stone ore' is identified in the gloss: dhā̆vaḍ 'iron-smelters'. There is a place-name in Karnataka called dhā̆rvā̆ḍ
The suffix -vā̆ḍ in the place-name is also explained in the context of ‘rope’ hieroglyph:vaṭa2ʻ string ʼ lex. [Prob. ← Drav. Tam.vaṭam, Kan.vaṭi,vaṭara, &c. DED 4268] vaṭa-string, rope, tie;vaṭāraka-, vaṭākara-, varāṭaka- cord, string(DEDR 5220).
Dhā̆rvā̆ḍ is an ancient major trading down dealing -- even today -- with iron ore and mineral-belt of Sahyadri mountain ranges in western Karnataka. The word dhāv is derived fromdhātu which has two meanings: 'strand of rope' (Rigveda)(hieroglyph) and 'mineral' (metalwork ciphertext of Indian sprachbund.)
I suggest that Shahdad which has a standard of ca. 2400 BCE with the 'twisted rope' hieroglyph -- and hence dealing with ferrote ores (magnetite, hematite, laterite) -- should be recognized as a twin iron-ore town of Dhā̆rvā̆ḍ It is hypothesised that further archaeometallurgical researchers into ancient iron ore mines of Dhā̆rvā̆ḍ region are likely to show possible with an archaeological settlement of Sarasvati_Sindhu civilization: Daimabad from where a seal was discovered showing the most-frequently used Indus Script hieroglyph: rim of jar.
Daimabad seal. Rim of jar hieroglyph. karNI 'rim of jar' Rebus: karNI 'supercargo', karNIka 'scribe'.
dhāī wisp of fibers added to a rope (Sindhi) Rebus: dhātu 'mineral ore' (Samskritam) dhāū, dhāv m.f. ʻa partic. soft red stoneʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(Marathi)
Fig. 1 First cylinder seal-impressed jar from Taip 1, Turkmenistan
(Photo: Kohl 1984: Pl. 15c; drawings after Collon 1987: nos. 600, 599. (After Fig. 5 Eric Olijdam, 2008, A possible central Asian origin for seal-impressed jar from the 'Temple Tower' at Failaka, in: Eric Olijdam and Richard H. Spoor, eds., 2008, Intercultural relations between south and southwest Asia, Studies in commemoration of ECL During Caspers (1934-1996), Society for Arabian Studies Monographs No. 7 [eds. D. Kennet & St J. Simpson], BAR International Series 1826 pp. 268-287). https://www.academia.edu/403945/A_Possible_Central_Asian_Origin_for_the_Seal-Impressed_Jar_from_the_Temple_Tower_at_Failaka
Decipherment of Indus Script hieroglyphs:
Hieroglyphs on the cylinder impression of the jar are: zebu, stalk (tree?), one-horned young bull (?), twisted rope, birds in flight, mountain-range
dhāī wisp of fibers added to a rope (Sindhi) Rebus: dhātu 'mineral ore' (Samskritam) dhāū, dhāv m.f. ʻa partic. soft red stoneʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(Marathi)
poLa 'zebu' Rebus: poLa 'magnetite ore'
kōḍe, kōḍiya. [Tel.] n. A bullcalf. Rebus: koḍ artisan’s workshop (Kuwi) kunda ‘turner’ kundār turner (Assamese)
kolmo 'rice plant' Rebus: kolimi 'smithy, forge'
eruvai 'eagle' Rebus: eruvai 'copper (red)'
dAng 'mountain-range' Rebus: dhangar 'blacksmith'
Thus, the storage jar contents are the message conveyed by the hieroglyph-multiplex: copper smithy workshop magnetite ore, iron castings. Fig. 2 Hematite cylinder seal of Old Syria ca. 1820-1730 BCE
Period: Old Syrian
Date: ca. 1820–1730 B.C.E
Geography: Syria
Medium: Hematite
Dimensions: H. 1 1/16 in. (2.7 cm); Diam. 1/2 in. (1.2 cm)
Classification: Stone-Cylinder Seals
Credit Line: Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian, 1999
Accession Number: 1999.325.142 Metmuseum
Fig. 3 Hematite seal. Old Syria. ca. 1720-1650 BCE
Period: Old Syrian
Date: ca. 1720–1650 B.C.E
Geography: Syria
Medium: Hematite
Dimensions: H. 15/16 in. (2.4 cm); Diam. 3/8 in. (1 cm)
Classification: Stone-Cylinder Seals
Credit Line: Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian, 1999
Accession Number: 1999.325.155 Metmuseum
Fig. 4 Cylinder seal modern impression. Mitanni. 2nd millennium BCE
Dimensions: H, 1 1/8 in. (2.9 cm); Diam. 7/16 in. (1.1 cm)
Classification: Stone-Cylinder Seals
Credit Line: Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian, 1999
Accession Number: 1999.325.147 Metmuseum
Fig. 6 Cylinder seal. Mitanni. 2nd millennium BCE
Period: Mitanni
Date: ca. late 2nd millennium B.C.E
Geography: Mesopotamia or Syria
Culture: Mitanni
Medium: Hematite
Dimensions: H. 1 in. (2.6 cm); Diam. 1/2 in. (1.2 cm)
Classification: Stone-Cylinder Seals
Credit Line: Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian, 1999
Accession Number: 1999.325.190 Metmuseum
Fig. 7 Stone cylinder seal. Old Syria ca. 1720-1650 BCE
Period: Old Syrian
Date: ca. 1720–1650 B.C.
Geography: Syria
Medium: Stone
Dimensions: H. 1.9 cm x Diam. 1.1 cm
Classification: Stone-Cylinder Seals
Credit Line: Bequest of W. Gedney Beatty, 1941
Accession Number: 41.160.189 Metmuseum
Fig. 8 Hematite cylinder seal. Old Syria. ca. early 2nd millennium BCE
Period: Old Syrian
Date: ca. early 2nd millennium B.C.E
Geography: Syria
Medium: Hematite
Dimensions: H. 11/16 in. (1.7 cm); Diam. 5/16 in. (0.8 cm)
Classification: Stone-Cylinder Seals
Credit Line: Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian, 1999
Accession Number: 1999.325.161 Metmuseum
Section 2. R̥gveda śyena, devatāsuparṇātmā brahma śyena is ब्रह्मन्, 'hymn, sacred word', fetches Soma whih is ātmā principle & sensation of yajña; hence suparṇātmā brahma is devatā of r̥ca-s RV 4.26.4-7.
This monograph demonstrates that this extraordinary R̥gveda śyena metaphor, is paralled/replicated in stunning śyenaIndus Script Orthography hypertexts and śyenaarchaeo-metallurgical artifacts.
ब्रह्मन् n. (lit. " growth " , " expansion " , " evolution " , " development "" swelling of the spirit or soul " , fr. √2. बृह्) pious effusion or utterance , outpouring of the heart in worshipping the gods , prayer RV. AV. VS. TS.; (exceptionally treated as m.) the ब्रह्म or one self-existent impersonal Spirit , the one universal Soul (or one divine essence and source from which all created things emanate or with which they are identified and to which they return) , the Self-existent , the Absolute , the Eternal (not generally an object of worship but rather of meditation and-knowledge ; also with ज्य्/एष्ठ , प्रथम-ज्/अ , स्वय्/अम्-भु , अ-मूर्त , पर , परतर , परम , महत् , सनातन , शाश्वत ; and = परमा*त्मन् , आत्मन् , अध्यात्म , प्रधान , क्षेत्र-ज्ञ , तत्त्व) AV. S3Br. Mn. MBh. &c ( IW. 9 , 83 &c )
śyena is ब्रह्मन्, 'hymn, sacred word' is the metaphor for knowledge because, in the explanation of the metaphor, śyena pierces through the metallic fortresses and brings Soma. A synonym of śyena is supraṇa, 'ray' (नैघण्टुक , commented on by यास्क). Soma is amśu, 'ray, sunbeam'. Thus, the r̥ca-s, 'prayers' RV 4.26.4-7 addressed to śyena invoke devatāsuparṇātmā brahma. आत्मन् isthe highest personal principle of life, ब्रह्म (cf.परमा*त्मन्) AV. x , 8 , 44VS. xxxii , 11S3Br. xiv , &c (Monier-Williams). Thus, the expression suparṇātmā brahma is a semantic reinforcement of the knowledge (highest personal principle of life) system signified by śyena. आत्मन् is the principle of life and sensation, hencesuparṇātmā brahma is semantically elaborated as a metaphor signifying the sacred hymn addressed to the ray of knowledge. śyena is a ray of light, which signifies the carrier of Soma, the carrier of the principle of life and sensation related to Soma.
1. I WAS aforetime Manu, I was Surya: I am the sage Kaksivan, holy singer. Kutsa the son of Arjuni I master. I am the sapient Usana behold me. 2 I have bestowed the earth upon the Arya, and rain upon the man who brings oblation. I guided forth the loudlyroaring- waters, and the Gods moved according to my pleasure. 3 In the wild joy of Soma I demolished Sambaras' forts, ninety and nine—, together; And, utterly, the hundredth habitation, when helping DivodasaAtithigva. 4 Before all birds be ranked this Bird, O Maruts; supreme of falcons be this fleetwinged- Falcon, Because, strong- pinioned, with no car to bear him, he brought to Manu the Godloved oblation. 5 When the Bird brought it, hence in rapid motion sent on the wide path fleet as thought he hurried. Swift he returned with sweetness of the Soma, and hence the Falcon hath acquired his glory. 6 Bearing the stalk, the Falcon speeding onward, Bird bringing from afar the draught that gladdens, Friend of the Gods, brought, grasping fast, the Soma which be bad taken from yon loftiest heaven. 7 The Falcon took and brought the Soma, bearing thousand libations with him, yea, ten thousand. The Bold One left Malignities behind him, wise, in wild joy of Soma, left the foolish.
Translation of Sayana/Wilson: RV 4.26
4.026.01 I have been Manu and Su_rya; I am the wise r.s.i: Kaks.i_vat; I have befriended Kutsa, the son of Arjuni; I am the far-seeing Us'ana_s; so behold me. [Attributed to Va_madeva: the sage uttered the verse and the following two verses, while yet in the womb, knowledge of truth being generated in him, and enabling him to identify himself with universal existence; through the eye of supreme truth I am everything, parama_rtha dr.s.t.ya_ kr.tsnam aham asmityarthah, we have, thus, the statement of the pantheistic basis for Veda_nta]. 4.026.02 I gave the earth to the venerable (Manu); I have bestowed rain upon the mortal who presents (oblations); I have let forth the sounding waters; the gods obey my will. [To the venerable Manu: the text has only a_ryaya; Ma_nave is added]. 4.026.03 Exhilarated (by the Soma beverage) I have destroyed the ninety and nine cities of S'ambara, the hundredth I gave to be occupied by Divoda_sa when I protected him, Atithigva, at his sacrifice. 4.026.04 May this bird, Maruts, be pre-eminent over (other) hawks, since with a wheelless car the swift-winged bore the Soma, accepted by the gods, to Manu. [With a wheelless car: acakraya_ vadhaya_ = cakrarahitena rathena, with a car without wheels; the text has havyam, this is a metonymy for the Soma, which is said to have been brought from heaven by the ga_yatri_, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma]. 4.026.05 When the bird, intimidating (its guardians), carried off from hence (the Soma) it was at large; (flying) swift as thought along the vast path (of the firmament), it went rapidly with the sweet Soma, and the hawks thence acquired the celebrity in this world. 4.026.06 The straight-flying hawk, conveying the Soma from afar; the bird, attended by the gods, brought, resolute of purpose, the adorable exhilarating Soma, having taken it from that lofty heaven. 4.026.07 Having taken it, the hawk brought the Soma with him to a thousand and ten thousand sacrifices, and this being provided, the performer of many (great) deeds, the unbewildered (Indra) destroyed, in the exhilaration of the Soma, (his) bewildered foes.
See:
R̥gveda ākhyāna ofśyena by Gautama, son of Rāhugaṇa who migrated to Karatoya, Ganga-Brahmaputra basin. Soma and the Eagle (Agni as śyena 'thunderbolt' ) -- Maurice Bloomfield (1892) https://tinyurl.com/ycpf85x2
Griffith translation RV 4.27: 1 begins with a soliloquy of perhaps Soma referring to Soma's confinement in a hundred iron fortresses which are smothered by the mighty, powerful śyena.
As I lay within the womb, considered all generations of these Gods in order. A hundred iron fortresses confined me but forth I flew with rapid speed a Falcon.2 Not at his own free pleasure did he bear me: he conquered with his strength and manly courage. Straightway the Bold One left the fiends behind him and passed the winds as he grew yet more mighty.3 When with loud cry from heaven down sped the Falcon, thence hasting like the wind he bore theBold One.Then, wildly raging in his mind, the archer Krsanu aimed and loosed the string to strike him.
RV references to the strong bird: 1-32-14; 1-33-2; 1-118-11; 1-163-1; 1-165-2; 2-42-2; 4-38-5; RV references to Suparṇa: 1-164-20; 2-42-2; 4-26-4; 8-100-8;10-48-3. The messages conveyed by these R̥gvedar̥ca-s are explanatory texts of the profundity ofśyena metaphor. In RV 4.26.4 the falcon is compared to a wheelless car. Sāyaṇa notes that the text which has havyam is a reference to Soma brought from heaven by Gāyatrī: With a wheelless car: acakrayā vadhayā = cakrarahitena rathena, with a car without wheels; the text has havyam, this is a metonymy for the Soma, which is said to have been brought from heaven by the gāyatrī, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma
RV 10.48.3 refers to Tvaṣṭr̥ who has forged a metal weapon, metal vajra in the expression vajram atakṣad āyasam (for the falcon to break through the metal forts).
In RV 8.100.8 the falcon is said to burst asunder the metal city, iron fort and brought Soma to Indra, the thunderer. The expression āyasīm is explained: āyasīm = metal, hiran.mayīm, golden; an allusion to the cities of the demons as made of metal on earth, silver in the firmament and gold in heaven (Aitareya Bra_hman.a 1.23)].
RV 8.100.8 Sāyaṇa/Wilson: 8.100.08 Suparn.a, rushing swift as thought, passed through the metal city; then having gone to heaven he brought the Soma to the thunderer. [He brought the Soma to the thunderer: Legend : Ga_yatri_ as a bird fetched Soma from heaven. a_yasi_m = metal, hiran.mayi_m, golden; an allusion to the cities of the demons as made of metal on earth, silver in the firmament and gold in heaven (Aitareya Bra_hman.a 1.23)]. Griffith RV 8.89.8 8 Onrushing- with the speed of thought within the iron fort he pressed: The Falcon went to heaven and brought the Soma to the Thunderer. śyena is associated with the attributes of 'might, vigour', 'speed of flight''mighty wings' in the following r̥ca-s:
Sāyaṇa/Wilson: RV 1.032.14 When fear entered, Indra, into your heart when about to slay Ahi, what other destroyer of him did you look for, that, alarmed, you did traverse ninety and nine streams like a (swift) hawk? [When fear entered Indra: his fear was the uncertainty whether he should destroy Vr.tra or not]. Griffith: 14 Whom sawest thou to avenge the Dragon, Indra, that fear possessed thy heart when thou hadst slain him;That, like a hawk affrighted through the regions, thou crossedst nineandninety— flowing rivers?
Sāyaṇa/Wilson: RV 1.33.2:1.033.02 I fly, like a hawk to its cherished nest, to that Indra who is to be invoked by his worshipper in battle, glorifying with excellent hymns, him who is invincible and the giver of wealth.
Griffith: RV 1.33.2 I fly to him invisible Wealthgiver- as flies the falcon to his cherished eyrie, With fairest hymns of praise adoring Indra, whom those who laud him must invoke in battle.
RV 1.118.11 Sāyaṇa/Wilson: 1.118.11 Come to us, auspicious Na_satyas, with the fresh velocity of a hawk; bearing an oblation, I invoke you, As'vins, at the rising of the ever constant dawn.
Griffith: 11 Come unto us combined in love, Nasatyas come with the fresh swift vigour of the falcon. Bearing oblations I invoke you, Asvins, at the first break of everlasting morning.
RV 1.163.1 Sāyaṇa/Wilson: 1.163.01 Your great birth, O Horse, is to be glorified; whether first springing from the firmament or from the water inasmuchas you have neighed (auspiciously), for you have the wings of the falcon and the limbs of the deer. [Spring from the firmament: samudra_d uta va_ puri_s.a_t = antariks.a, the firmament, and udaka, water; samudra = the sun].
Griffith: 1. WHAT time, first springing into life, thou neighedst, proceeding from the sea or upper waters, Limbsof the deer hadst thou, and eagle pinions. OSteed, thy birth is nigh and must be lauded.
RV 1.164.20 Sāyaṇa/Wilson: 1.164.20 Two birds associated together, and mutual friends, take refuge in the same tree; one of them eats the sweet fig; the other abstaining from food, merely looks on. [Two birds associated together: the vital and supreme spirit, jiva_tma_ and parama_tma_, are here alluded to using the metaphor of the two birds; eats the sweet fig: pippalam sva_du atti: the vital spirit enjoys the rewards of acts. dvau dvau pratis.t.hitau sukr.tau dharmakarta_rau: two species of souls to be intended as abiding in one body (Nirukta 14.30)].
Griffith: 20 Two Birds with fair wings, knit with bonds of friendship, in the same sheltering tree have
found a refuge.One of the twain eats the sweet Figtrees-' fruitage; the other eating not regardeth only.
RV 1.165.2 Sāyaṇa/Wilson: 1.165.02 Of whose oblations do the youthful (Maruts) approve; who attracts them to his (own) sacrifice (from the rites of others); with what powerful praise may we propitiate (them), wandering like kites in the mid-air?
Griffith: 2 Whose prayers have they, the Youthful Ones, accepted? Who to his sacrifice hath turned theMaruts? We will delay them on their journey sweeping, with what high spirit!, through the air like eagles.
RV 2.42 Sāyaṇa/Wilson:
2.042.01 Crying repeatedly, and foretelling what will come to pass, (the kapin~jala) gives (due) direction to its voice, as a helmsman (guides) a boat; be ominous, bird, of good fortune, and may no calamity whatever befall you from any quarter. [Kapin~jala: The Anukraman.ika_ has kanimataru_pindro devata_; kapin~jala = francoline partridge]. 2.042.02 May no kite, no eagle, kill you; may no archer armed with arrows, reach you; crying repeatedly, in the region of the Pita_, be ominous of good fortune; proclaimer of good luck, speak to us on this occasion. [In the region of the pita_: the south; the cry of the birds on the south is a good omen, cf. next hymn]. 2.042.03 Bird, who are ominous of good fortune, the proclaimer of good luck, cry from the south of our dwellings; may no thief, no evil-doer prevail agains tus; that blessed with excellent descendants we may worthily praise you at this sacrifice.
Griffith: 1. TELLING his race aloud with cries repeated, he sends his voice out as his boat a steersman.
O Bird, be ominous of happy fortune from no side may calamity befall thee. 2 Let not the falcon kill thee, nor the eagle let not the arrowbearing- archer reach thee. Still crying in the region of the Fathers, speak here auspicious, bearing joyful tidings. 3 Bringing good tidings, Bird of happy omen, call thou out loudly southward of our dwellings, So that no thief, no sinner may oppress us. Loud may we speak, with heroes, in assembly.
RV 4.26.4 Sāyaṇa/Wilson: 4.026.04 May this bird, Maruts, be pre-eminent over (other) hawks, since with a wheelless car the swift-winged bore the Soma, accepted by the gods, to Manu. [With a wheelless car: acakraya_ vadhaya_ = cakrarahitena rathena, with a car without wheels; the text has havyam, this is a metonymy for the Soma, which is said to have been brought from heaven by the ga_yatri_, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma].
Griffith:4 Before all birds be ranked this Bird, O Maruts; supreme of falcons be this fleetwinged- Falcon,Because, strong- pinioned, with no car to bear him, he brought to Manu the Godloved oblation.
RV 4.38.5 Sāyaṇa/Wilson: 4.038.05 Whom men call after in battles, as after a thief carrying off a garment, or as (after) a hungry hawk pouncing (upon his prey); they call after him, hastening to obtain food, or a herd of cattle. [They call after him: s'ravasca_ccha_ pas'umacca yu_tham = annam ki_rttim va_ pas'umad yu_tham ca accha_ abhilaks.ya gacchantam enam anukros'anti, they call after him, that is Dadhikra_, going, having in view either food or fame, or a herd consisting of cattle].
Griffith: 5 Loudly the folk cry after him in battles, as it were a thief who steals away a garment;Speeding to glory, or a herd of cattle, even as a hungry falcon swooping downward.
RV 8.100.8 Sāyaṇa/Wilson: 8.100.08 Suparn.a, rushing swift as thought, passed through the metal city; then having gone to heaven he brought the Soma to the thunderer. [He brought the Soma to the thunderer: Legend : Ga_yatri_ as a bird fetched Soma from heaven. a_yasi_m = metal, hiran.mayi_m, golden; an allusion to the cities of the demons as made of metal on earth, silver in the firmament and gold in heaven (Aitareya Bra_hman.a 1.23)].
RV 10.48.3 Sāyaṇa/Wilson: 10.048.03 For me Tvas.t.a_ fabricated the metal thunderbolt; in me the gods have concentrated pious acts; my lustre is insurmountable, like that of the Sun; men acknowledge me as lord in consequence of what I have done, and of what I shall do. [My lustre is the Sun: my army is hard to overcome, like the sun's lustre; ani_ka = lit., face].
Griffith: 3 For me hath Tvastar forged the iron thunderbolt: in me the Gods have centred intellectual power. My sheen is like the Suns' insufferably bright: men honour me as Lord for past and future deeds.
Śatapatha Brāhmaṇa 12-2-3-7 praises eagle as Maha Suparna, i.e. Great Eagle.
The semantic explanation provided in theR̥gveda for the metaphor śyena is breath-taking in its splendour.
The devatā of r̥ca-s RV 4.26.4-7 is śyena; the metaphor of śyena is elaborated as: suparṇātmā brahma as the brahma, supreme principle of life and sensation applicable to the celestial sphere 'having beautiful rays'. Thus, śyena is a metaphor for the flight of the eagle -- of Gayatī metre, the mother of the four Vedas --bringing Soma to the mortals. The divinity associated with the metaphor explains the Double-eagle temple of Sirkap stupa, on the river bank opposite to the city of Taxila. In reference to the life-activities of the people of the times, śyena is āhan gar, a metal caster blacksmith who works with copper and alloying minerals like zinc to harden the metal alloy of brass.सु--पर्ण m. any large bird of prey (as a vulture , eagle ; also applicable to the sun or moon as " having beautiful rays " , and to सोम and clouds ; du. " sun and moon ")(RV)सु--पर्णी f. a partic. personification (mentioned together with कद्रू , sometimes identified with वाच् and regarded as the mother of metres) TS. Ka1t2h. S3Br.
1. O JATAVEDAS, keen and swift, we Gotamas with sacred song exalt thee for thy glories' sake. 2 Thee, as thou art, desiring wealth Gotama worships with his song: We laud thee for thy glories' sake. 3 As such, like Angiras we call on thee best winner of the spoil: We laud thee for thy glories' sake. 4 Thee, best of Vrtraslayers-, thee who shakest off our Dasyu foes: We laud thee for thy glories' sake. 5 A pleasant song to Agni we, sons of Rahugana, have sung: We laud thee for thy glories' sake.
Śatapatha Brāhmaṇa provides a detailed account of the movement of people (Videgha Mā thava, Gotama Rahugaṇa) from River Sarasvati to River Sadānīra which is Karatoya river, now a tributary of Brahmaputra.
"The Śatapatha Brāhmaṇa contains reminiscences of the days when the country of Videha was not as yet Brahmanised. Thus Book I. relates a legend in which three stages in the eastward migration of the Aryans can be clearly distinguished. Mathava, the king of Videgha (the older form of Videha), whose family priest was Gotama Rahugana, was at one time on the Sarasvati. Agni Vaiçvanara (here typical of Brahmanical culture) thence went burning along this earth towards the east, followed by Mathava and his priest, till he came to the river Sadanira ..., which flows from the northern mountain, and which he did not burn over. This river Brahmans did not cross in former times, thinking "it has not been burnt over by Agni Vaiçvanara." At that time the land to the eastward was very uncultivated and marshy, but now many Brahmans are there, and it is highly cultivated, for the Brahmans have caused Agni to taste it through sacrifices. Mathava the Videgha then said to Agni, "Where am I to abide?""To the east of this river be thy abode," he replied." (Arthus A. Macdonnell, 1900, A history of Sanskrit literature,New Yorki,D. Appleton and Company)
--Divine śyena-Soma narratives are venerated in Rgveda metaphors; śyena is Agni form of thunderbolt-lightning; -----Thus double-headed eagle of Anatolia is traced to Rgveda times, pre-dating Sarasvati-Sindhu Civilization Indus Script of ca. 4th millennium BCE.
Rock sanctuary of Yazilikaya, 13th c B.C. Double-headed eagle PLUS two hares in the claws. I submit that these are Indus Script hieroglyphs.śyena, aśani 'eagle, thunderbolt' rebus: P آهنāhan, s.m. (9th) Iron; asani 'thunderbolt' PLUS kharā 'hare' Rebus: khār 'blacksmith'; thus, together, the expression is Rebus: آهنāhan, s.m. (9th) Iron +khār 'blacksmith';thus,together, the expression is:अहन्-गार् (Kashmiri) آهن ګر āhan gar (Pashto) 'blacksmith' 'thunderbolt blacksmith' PLUS panja 'talons' rebus:panja 'kiln, furnace'. dula 'pair (of heads) rebus: dul 'metal casting'. Thus, metal casting thunderbolt blacksmith, armourer.
The name of the sanctuary Yazilikaya means 'stone writing'. These are cognate Indo-Aryan Meluhha words: ašin 'stone' +lēkhyaʻ to be written ʼ; thus Yazilikaya means 'stone writing'.
ašin 'stone'+ kharā 'hare' Rebus: نāhan, s.m. (9th) Iron +khār 'blacksmith';thus,together, the expression is:अहन्-गार् (Kashmiri) آهن ګر āhan gar (Pashto) 'blacksmith'
ālēkhanī -- see āˊlikhati. 1394ālēkhya n. ʻ writing, painting, picture ʼ R. [√likh]Pk. ālekkha -- ʻ painted ʼ; Si. älik ʻ picture ʼ. 11101lēkha m. ʻ line, stroke ʼ MānGr̥., ʻ writing ʼ Hariv. [√likh]
Pa. lēkha -- m. ʻ writing ʼ, Pk. lēha -- m., OSi. le -- .lēkhaka -- ; lēkhaśālā -- .11102lēkhaka m. ʻ scribe ʼ Yājñ. [√likh]Pa. lēkhaka -- ʻ scribe ʼ, OSi. le SigGr ii 460.11103lēkhana ʻ scraping ʼ Suśr., n. ʻ act of scraping ʼ Car., ʻ instrument for scraping ʼ Kauś., lēkhanī -- f. ʻ instrument for writing ʼ MBh. [√likh]
Pa. lēkhana -- n. ʻ act of scratching ʼ, lēkhaṇī -- f. ʻ instrument for scratching lines ʼ ( -- ṇ -- from *rēkhaṇī -- ?); Pk. lēhaṇī -- f. ʻ pen ʼ; Bi. lehnī, nehnī ʻ scraper used by tin -- man ʼ, (Camparan) lehan ʻ the cut crop ʼ, (Shahabad) lĕhnī.1104lēkhayatiʻ causes to scratch ʼ ŚāṅkhŚr., ʻ writes, paints ʼ Yājñ. [√likh]a.lēkhētiʻ makes a scratch ʼ,lēkhita-- ʻ drawn, pencilled ʼ; Aś.kāl.lekhita-- ʻ caused to be written ʼ; Pk.lēhaïʻ writes ʼ, M.lehṇẽ.11105lēkhaśālā f. ʻ writing school ʼ Camp. [lēkha -- , sāˊlā -- ]Pk. lēhasālā -- f. ʻ school ʼ, OG. lesāla, ne˚ f., G. niśāḷ f. (not <*nayaśālā -- ).lēkhaśālika -- Addenda: lēkhaśālā -- : OG. (AD 1355) lesāla, (AD 1585) ne˚ A. Master.*lēṅka -- ʻ defective ʼ see *likka -- Add2.†*lēdha -- ʻ lump ʼ see *lidda -- 3. 11106lēkhaśālika m. ʻ pupil in a writing school ʼ Camp. [lēkhaśālā -- ]
OG. lesālīyaü m. ʻ pupil ʼ, G. niśāḷiyɔ m. ʻ schoolboy ʼ. 11107lḗkhā f. ʻ scratch, streak, line ʼ ŚBr. [~ rēkhāˊ -- . - √likh]Pa. lēkhā -- f. ʻ scratch, line ʼ; Pk. lēhā -- f. ʻ line ʼ; Si. leya ʻ line, row ʼ; -- X *līkkā -- 2: Pk. lĭ̄hā -- f. ʻ line ʼ, S. līha f.; P. līh f. ʻ line, rut ʼ; G. līh, līhī f. ʻ line ʼ.
11108lēkhya ʻ to be written ʼ Yājñ., n. ʻ writing ʼ MBh., ʻ document ʼ Yājñ. [√likh]NiDoc. lekha ʻ document ʼ; Pk. lekkha -- , likkha -- n. ʻ accounts ʼ, K. lyukhu m., likha m.; S. lekhu m. ʻ destiny ʼ, lekho m. ʻ account ʼ; L. P. lekh m. ʻ fate ʼ, lekhā (P. also lekkhā) m. ʻ account ʼ; WPah.bhal. le_kh in me_le_khe ʻ in my opinion ʼ; Ku. lekh ʻ document, opinion, destiny ʼ; Ku. N. lekho ʻ account ʼ, A. lekh, lekhā; B. lekhā ʻ letter, drawing ʼ; Or. lekhā, nekhā ʻ written ʼ, sb. ʻ writing ʼ; Bi. H. lekhā m. ʻ account ʼ; OMarw. lekha m. ʻ writings ʼ; OG. lekhaüṁ n. ʻ calculation ʼ, G. lekhũ n. ʻ account ʼ, M. lekh n. -- Deriv. vb.: Tor. lekūsa ʻ to count ʼ; Phal. lekhūˊm ʻ I count, divide ʼ; Or. lekhibā, ne˚ ʻ to write ʼ.
aśáni f. ʻ thunderbolt ʼ RV., ˚nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.]Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. ; (both with n, not ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, bhal. ; f., N. asino, pl. ˚nā; Si. sena, heṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v. śilāˊ -- .(CDIAL 910)
To what is One, sages give many a title they call it Agni, Yama, Matarisvan.
"At the beginning of the early 19th century, excavations conducted by Charles Texier, in an old Hittite capital (Boğazkale) in modern-day Turkey, revealed cylindrical seals depicting two-headed eagle with spread wings.The motif of the double-headed eagle dates back to c. 3800 BCE."
The sacred eagle signified by the anthropomorph of winged blacksmith is carried in a Bharhut procession.
*skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu, °bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult.khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; . khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640).
A flagpost carried by a horse rider signifies a sippi 'artificer' by the hypertext hieroglyph: sippi 'oyster shell' PLUS dāma 'garland'. This artificer statue on the flagpost is comparable to the sippi shown on Sanchi torana. He is also a kammakāraka 'a sailor J iv.139' (Pali) kamma + kāra 'sailor, mariner' close to the ayo kammata 'iron mint'.
This is kárṇakam. ʻ projection on the side of a vessel, handle ʼŚBr. [kárṇa -- ]
Pa. kaṇṇaka -- ʻ having ears or corners ʼ; Wg.kaṇəʻ ear -- ring ʼ NTS xvii 266; S.kano m. ʻ rim, border ʼ; P.kannā m. ʻ obtuse angle of a kite ʼ (→ H.kannā m. ʻ edge, rim, handle ʼ); N.kānuʻ end of a rope for supporting a burden ʼ; B.kāṇāʻ brim of a cup ʼ, G.kānɔ m.; M. kānā m. ʻ touch -- hole of a gunThe person shown is akarṇadhāra m. ʻhelmsmanʼ Suśr. [kárṇa -- , dhāra -- 1] Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk.kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H.kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2831, 2836)
Section of a coping rail. 30.5x122 cm. 2nd cent. BCE Sunga. Bharhut.
Sanchi torana.A flagpost by an elephant-rider signifies: ayo kammaTa 'iron mint'Sanchi and Bharhut stupa reliefs on a torana. Two mahouts ride on two elephants. One mahour carries a flagpost with a standard of 'srivatsa' hieroglyphmultiplex. This has been explained as metalcraftsmanship.
dāmān 'sheet of a sail' rebus: dhAu 'mineral' is ligatured to the hieroglyph
sippī 'oyster shell' on the flagpost to signify sīpī 'artificer' of metals/minerals. That the word sippī 'is intended by the semantic determinants of sippī f. ʻ shell, spathe of date palmʼ.
Hieroglph:
Ta. pāḷai spathe of palms. Ma. pāḷa id., bark or film of an areca branch (used as vessel for gathering toddy, as hat); pāṇu spatha of a coconut bunch. Ka. hāḷe, hāḷi broad spathe at the bottom of an areca-palm branch, used as a vessel, etc.; (K.2) pāḷe the outer covering of the areca nut flowers. Tu. pāḷè, pālè, pālem bu spatha of palm blossoms or of an areca branch, cap made of areca spatha. Kor. (M.) hāḷe spathe of areca nut tree. Te. pāḷa husk of a coconut. (DEDR 4116)
Ta. pāḷam metal cast in moulds. Ma. pāḷam ingot; vāḷam id., bar of gold or iron; a hammer for the chisel. Ka. pāḷa ingot of gold or silver. Te. pāḷamu, pāḷā ingot. (DEDR 4114). Such a signifier of ingot, palm trees are shown on a Mohenjo-daro boat. These palms are shown together with ox-hide shaped large ingots which constitute the cargo of the boat. Birds on the boat are semantic determinatives:
pōlaḍu పోలడు 'black drongo' rebus: poladu 'steel'पोलाद pōlāda n ( or P) Steel.
As the tiered ziggurat raises upto the heavens, the sacred eagle lands bringing the Soma.
Double-eagle Ankara The tiered ziggurat temple shown on this sculptural frieze is an echo of the Indus Script seal dated to ca. 2500 BCE.
m1427A
m1427B
m1427 Text 2860 On another seal with an identical text messsage, m451 seal shows the hieroglyph of an eagle in flight in place of the ziggurat temple tiered-structure shown on m1427B. This signifies that eagle is as sacred as the ziggurat sacred temple.
On a number of seals of Indus Script Corpora, the eagle hieroglyph is associated with the sacred fire-altar. .The + shape of the sacred fire-altar in Veda tradition has been demonstrated at
Old Meluhha spoken form koṇḍa 'live coals in a pit', अग्नि-कुण्ड documented on thousands of Indus Script inscriptions https://tinyurl.com/y9larphj
-- khōṇḍa 'young bull' rebus koṇḍa, kuṇḍa, kō̃da 'sacred fire-altar; live coals in a pit'.
This monograph demonstrates that अग्नि-कुण्ड is documented on thousands of Indus Script inscriptions by demonstrating that the 'unicorn' has a bovine hieroglyph component which signifies khōṇḍa 'young bull' rebus:koṇḍa 'live coals in a pit'. A ligatured hieroglyph to this young bull is: singhin 'forward-thrusting, spiny horned' rebus: singi 'ornament gold'; thus the khōṇḍa singi 'unicorn' signifies a sacred fire-altar for ornament gold. Scores of Indus Script inscriptions signify अग्नि-कुण्ड as a + hieroglyph.
अग्नि--कुण्ड is a pan with live coals (रामायण); a hole or enclosed space for the consecrated fire(कथासरित्सागर);सर्व्वाधिकारिकं कुण्डंचतुरस्रन्तुसर्व्वदम्” ।चतुरस्रंचतुष्कोणम्॥Thus, generally, कुण्डं is a 'four-cornered' structure. Such a structure is called khoṇḍ 'square'
(Santali)
Thousands of Indus Script inscriptions detail such an अग्नि--कुण्ड using a hieroglyph component in a hypertext called 'forward-thrusting, spiny horned young bull'.
Obverse and reverse of terracotta sealing DK Area Mohenjo-daro
Courtesy:Dept of Archaeology and Museums, Govt. of Pakistan.
On Harappa tablet 166, one side shows the fire-altar in Veda tradition and the other side shows pajhar, 'eagle' rebus: pasra'smithy, forge'. On Indus Script Corpora, kole.l 'smithy, forge' is kole.l'temple'.
śyena 'eagle' rebus: آهن ګرāhan gar 'smith,blacksmith' is also signified on an elamite axhead:
Elamite bird (eagle?) with spread wings on an axe-head from Tepe Yahya (Lamberg-Karlovsky, C.C. and D.T. Potts. 2001. Excavations at Tepe Yahya, Iran, 1967-1975: The Third Millennium. Cambridge: Peabody Museum of Archaeology and Ethnology, Harvard University, p.216)Ceremonial axe head made of chlorite, with eagle design from Tepe Yahya Per. IVB (Kohl 2001: 216, fig. 9.6). (Potts 2001: Figure 9.6).
Eagle is Indus Script hypertext. panja 'talon (of eagle)' rebus: panja 'kiln'; dula pair' rebus: dul 'metal casting' PLUS eagle, श्येन sēṇa, کار کنده kār-kunda are Indus Script metalwork wealth मेधा 'yajña, धन' hypertexts, signify ahan-gārअहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) آهن ګرāhan gar, 'blacksmith' (Pashto), maker ofasaṇi, vajrāśanithunderbolt weapon, manager of kiln.
I suggest that āhan gar, 'blacksmith', maker ofasaṇi, vajrāśani 'Indra's thunderbolt' is signified on the extraordinary iconography of a double-headed eagle ligatured to a human body on an Ashur seal impression dated to 14th cent. BCE. The smith is the maker of vajra, thunderbolt, the hard alloy, adamantine glue. A remarkable alloying process involved the use of zinc to alloy with copper to harden it into brass. Thus, there is a celebration of both eagle and svastika as extraordinary hieroglyphs with extraordinary significance during the Bronze-Metals Age. The association of eagle with svastika is exemplified by a hellenistic, thracian pin which shows a double-headed eagle bearing a svastika on its chest. vajrāśani 'Indra's thunderbolt' suggests a possible expression vajrāhan gar 'vajra, 'adamantine-glue'-maker blacksmith':. वज्र mn. " the hard or mighty one " , a thunderbolt (esp. that of इन्द्र , said to have been formed out of the bones of the ऋषिदधीच or दधीचि [q.v.] , and shaped like a circular discus , or in later times regarded as having the form of two transverse bolts crossing each other thus x ; sometimes also applied to similar weapons used by various gods or superhuman beings , or to any mythical weapon destructive of spells or charms , also to मन्यु , " wrath " RV. or [with अपाम्] to a jet of water AV. &c ; also applied to a thunderbolt in general or to the lightning evolved from the centrifugal energy of the circular thunderbolt of इन्द्र when launched at a foe ; in Northern Buddhist countries it is shaped like a dumb-bell and called Dorje ; »MWB. 201 ; 322&c ) RV. &c; m. a kind of hard mortar or cement (कल्क) VarBr2S. (cf. -लेप)(Monier-Williams)
दधीच =°ध्य्-/अच् (devoted himself to death that इन्द्र might slay वृत्र with the thunderbolt fabricated by त्वष्टृ out of his bones) MBh. i , iii , ix (father of सारस्वत by सरस्वती2929 ff.), xii
(Monier-Williams) दधीचःdadhīcaḥ, दधीचिःdadhīciḥ, दध्यच्dadhyac N. of a celebrated sage, who became ready to die, and offered his bones to the gods; with these bones the architect of the gods made a thunderbolt with which Indra defeated Vṛitra and other demons. -Comp. -अस्थिn.1 the thunderbolt of Indra. -2 a diamond. (Apte)
The eastern pier of the Sphinx Gate at Alaca Hüyük, showing the double-headed eagle grasping two hares The Meluhha hypertext expression which describes the narrative is: آهن ګر āhan gar (Pashto) अहन्-गार् (Kashmiri) asani 'thunderbolt' PLUS kharā 'hare' Rebus: khār 'blacksmith'; thus,thunderbolt blacksmith PLUS panja 'talons' rebus:panja 'kiln, furnace'. śyena has three talons. kolom 'three' rebus: kolimi 'smithy,forge'. Thus, the narrative of double-headed eagle is:dula 'pair' rebus: dul 'metal casting' PLUS अहन्-गार् 'blacksmith with panja kolimi 'kiln, furnace' working in a kambha 'wing' rebus: kammaṭa 'mint, coiner, coinage'. Thus, the double-headed eagle signifies a blacksmith who produces thunderbolts in smithy, forge'.
Thus, I submit that the double-headed temple in Sirkap, Takshasila signifies a thunderbolt making blackmithy. The niches are like torana's (gateways of Bharhut/Sanchi) topped by the double-headed eagles. These adorned niches signifies kole.l 'smithy, forge' rebus: kole.l 'temple' for अहन्-गार् thunderbolt-maker blacksmiths. I posit that the artisans of Begram ivories who have provided ivory models of gateways (torana-s) and who built the Sirkap smithy-temple of double-headed eagles are the artisans who built the toranas of Bharhut and Sanchi.
भेरुण्डbheruṇḍaa. Terrible, frightful, awful, fearful. -ण्डः A species of bird (Apte). கண்டபேரண்டம்kaṇṭa-pēraṇṭam , n. < ganḍabhēruṇḍa. Fabulous two-headed bird, which can hold even elephants in its beak and claws; யானையையும் தூக்கிச்செல்லவல்ல இருதலைப் பறவை. (சீகாளத். பு. தென்கை. 63.)
गरुडःgaruḍaḥ [गरुद्भयां डयते, डी-ड पृषो˚ तलोपः, गॄ-उडच् Uṇ 4. 166.] 1 N. of the king of birds. [He is a son of Kaśyapa by his wife Vinatā. He is the chief of the feathered race, an implacable enemy of serpents, and elder brother of Aruṇa. In a dispute between his mother and Kadrū, her rival, about the colour of उचैःश्रवस् Kadrū defeated Vinatā, and, in accordance with the conditions of the wager, made her her slave. Garuḍa brought down the heavenly beverage (Amṛita) to purchase her freedom, not, however, without a hard struggle with Indra for the same. Vinatā was then released; but the Amṛita was taken away by Indra from the serpents. Garuḍa is represented as the vehicle of Visnu, and as having a white face, an aquiline nose, red wings and a golden body.] -2 A building or architecture (such as चिति) shaped like Garuḍa; गरुडो रुक्मपक्षो वै त्रिगुणोऽष्टादशात्मकः Rām.1.14. 29. -3 N. of a particular military array. -Comp. -अग्रजः an epithet of Aruṇa, the charioteer of the sun; विभिन्नवर्णा गरुडाग्रजेन Śi.4.14. -अङ्कः an epithet of Viṣṇu. -अङ्कितम्, -अश्मन्m.-उत्तीर्णम् an emerald. -ध्वजः an epithet of Viṣṇu; समाहितमतिश्चैव तुष्टाव गरुडध्वजम् V. P. -व्यूहः a particular military array. गरुत्garutm. [गृ-गॄ-वा अति Uṇ.1.94] 1 The wing of a bird. -2 Eating, swallowing. -Comp. -योधिन्m. a quail. गरुत्मतgarutmataa. Winged; गरुत्मदाशीविषभीमदर्शनैः R.3.57. -m.1 Garuḍa; गरुत्मतां संहतिभिर्विहायः Ki.16.43. -2 A bird in general. -3 The fire. (Apte) गरुड ( √2. गॄUn2. iv , 155 , " devourer " , because गरुड was perhaps originally identified with the all-consuming fire of the sun's rays) , N. of a mythical bird (chief of the feathered race , enemy of the serpent-race, vehicle of विष्णु, son of कश्यप and विनता ; shortly after his birth he frightened the gods by his brilliant lustre ; they supposed him to be अग्नि , and requested his protection ; when they discovered that he was गरुड , they praised him as the highest being , and called him fire and sun MBh. i , 1239 ff. ; अरुण , the charioteer of the sun or the personified dawn , is said to be the elder [or younger] brother of गरुड ; स्वाहा , the wife of अग्नि , takes the shape of a female गरुडी=सुपर्णीMBh. iii , 14307 and 14343) (सुपर्णाध्यायतैत्तिरीय-आरण्यक x , 1 , 6MBh.) (Monier-Williams)
122 metre tall Garuda Wisnu Kencana, Bali, as Vahana of Vishnu.
Garuda eagle's wingscarved on the eaves of the Rock Cut Temple, Cave 3, Badami. Two Vidhyadhara fly above. Garuda has human body.
A narrative comparable to the anthropomorph -- human body with a pair of eagle-heads -- on the silver axhead is provided by a cylinder seal impression of ANE 14th cent. BCE. The anthropomorph is khār a blacksmith, and
अहन्-गार् a blacksmith who makes asaṇi thunderbolt weapons.
The shaft-hole axhead is conclusive proof of the Indus Script hypertext signified by the double-headed eagle ligatured to the body of a standing human, with wings emerging from his shoulders. This hypertext is accompanied with two other hypertexts: winged tiger with feline paws and boar.
All three Indus Script hypertexts are read rebus: dula 'pair' rebus: dul 'metal casting' PLUS śyēná m. ʻ hawk, falcon, eagle ʼ RV.Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) சேனம் cēṉam , n. šyēna. Kite; பருந்து. (திவா.) சியேனம் ciyēṉam , n. šyēna. 1. Kite, falcon; பருந்து. 2. A kind of kite-shaped military array; வியூகவகை. (குறள், 767, கீழ்க்குறிப்பு.) Rebus: آهن ګرāhan gar 'smith, blacksmith'
PLUS kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS kambha 'wing' rebus: kammaṭa 'mint, coiner, coinage' PLUS baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala). thus, three professionals are proclaimed in three hypertexts: blacksmith, iron smelter, worker-in wood-and iron -merchant.
Rebus 1: aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.]Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. ;n (both with n, not ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, bhal. ´; hiṇi f., N. asino, pl. °nā; Si. sena, heṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v. śilāˊ -- .Addenda: aśáni -- : Sh. aĩyĕˊr (Lor. aĩyār → Bur. *lhyer ʻ hail ʼ BurLg iii 17) poss. < *aśari -- from heteroclite n/r stem (cf. áśman -- : aśmará -- ʻ made of stone ʼ).(CDIAL 910) vájra m. ʻ thunderbolt ʼ RV., ʻ diamond ʼ ṢaḍvBr. [√*vaj]Pa. vajira -- m. ʻ thunderbolt ʼ, m.n. ʻ diamond ʼ, Pk. vajja -- , vayara -- , vaïra -- ; Sh. (Lor.) b*lc̣, pl. °c̣e m. ʻ thunderbolt, meteorite, lightning ʼ (< *baJ̣?); B. bāj ʻ thunderbolt ʼ; Si. vidu ʻ Indra's thunderbolt (or < vidyút-- ?), diamond ʼ, vadura, viduru.(CDIAL 11204) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)
आहनस् āhanas a. [आ-हन्-असुन्] 1 To be beaten or pressed out (as Soma)(Apte) आ-हनस् to be beaten or pressed out (as सोम); obscene , lascivious , profligate RV. v , 42 , 13 ; x , 10 , 6. 8. (Monier-Williams)
Rebus 2: P آهنāhan, s.m. (9th) Iron. Sing. and Pl. آهن ګرāhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګرانāhan-garān. آهن رباāhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing. and Pl.); (W.) Pl. آهن رباويāhan-rubāwī. See اوسپنه. (Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16) (Kashmiri) āhanआहन् interj. of respect (Gr.Gr. 11) and adv. of assent, employed in the following compounds:-<-> āhanōआहनो । आमिति adv. yes, used when addressing a male of equal or lower rank; it is an expression of doubtful assent. āhanūआहनू । आमि/?/ adv. yes, addressed to a junior male of rank equal to the speaker. -bā-बा । अस्ति भोः adv. yes, addressed to an equal or superior male; āhanuvआहनुव् । आमिति adv. yes, addressed to a male equal or inferior in rank. āhaniyआहनिय् । आमिति adv. yes, addressed to a woman inferior or equal in rank.(Kashmiri)
On this artifact, eagle, sēṇa, کار کنده kār-kunda are Indus Script hypertexts,signify āhan gar, b'lacksmith', maker of asaṇi,vajrāśani thunderbolt weapon, manager of kiln. The pair of eagle-heads signify dula 'pair' rebus: dul'metal casting'. Thus,metal casting blacksmith. The winged tiger: kola 'tiger' rebus: kol 'working in iron'kolhe 'smelter' PLUS kambha 'wing' rebus: kammata 'mint'. baḍhia 'a castrated boar, a hog'(Santali) বরাহ barāha 'boar' Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea'merchant' (Santali) vāḍhī, 'one who helps a merchant. Thus, the hypertexts on the silver gold foil shaft-hole axe constitute metalwork catalogues.
Shaft-hole axhead with a double-headed eagle ligatured to a human body, boar,and winged tiger, late 3rd–early 2nd millennium BCE Central Asia (Bactria-Margiana)Silver, gold foil; 5 7/8 in. (15 cm) “Western Central Asia, now known as Turkmenistan, Uzbekistan, and northern Afghanistan, has yielded objects attesting to a highly developed civilization in the late third and early second millennium B.C. Artifacts from the region indicate that there were contacts with Iran to the southwest. Tools and weapons, especially axes, comprise a large portion of the metal objects from this region. This shaft-hole axhead is a masterpiece of three-dimensional and relief sculpture. Expertly cast in silver and gilded with gold foil, it depicts a bird-headed hero grappling with a wild boar and a winged dragon. The idea of the heroic bird-headed creature probably came from western Iran, where it is first documented on a cylinder seal impression. The hero's muscular body is human except for the bird talons that replace the hands and feet. He is represented twice, once on each side of the ax, and consequently appears to have two heads. On one side, he grasps the boar by the belly and on the other, by the tusks. The posture of the boar is contorted so that its bristly back forms the shape of the blade. With his other talon, the bird-headed hero grasps the winged dragon by the neck. The dragon, probably originating in Mesopotamia or Iran, is represented with folded wings, a feline body, and the talons of a bird of prey.”
baḍhia 'a castrated boar, a hog'(Santali) বরাহ barāha 'boar' Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala).
kharā 'hare' Rebus: khār 'blacksmith' That eagle signifies a blacksmith is evidenced by the seal which shows both double-headed eagle and a pair of hares held by the talons of the double-headed eagle. Thus, kharā 'hare' Rebus: khār 'blacksmith'; śyena, śeṇ 'eagle' panja 'talon (of eagle)' rebus: panja 'kiln'; dula pair' rebus: dul 'metal casting' PLUS eagle, श्येन sēṇa, ahan-gārअहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) آهن ګرāhan gar, 'blacksmith' (Pashto), maker ofasaṇi, vajrāśanithunderbolt weapon, manager of kiln.
Sculptural frieze. stūpa of Sanchi, second half of 2nd century BCE (Kramrisch,1954, pic13)
Sanchi. Winged composite animal: tiger, eagle. The last two letters to the right of this inscription in Brahmi form the word "danam" (donation). This hypothesis permitted the decipherment of the Brahmi script by James Prinsep in 1837. The Indus Script hypertext of the composite animal:
Hierogoyph: hawk: śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala) Hieroglyph: wings: *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ] S. khambhu, °bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) Hieroglyph: tiger, feline paw: kola 'tiger' rebus: kol 'working in iron' PLUS panja 'feline paw' rebus: panja'kiln, furnace, smelter'. Thus, the hypertext reads: kol panja sena kammaṭa'iron smelter thunderbolt mint.
Miraculous crossing of theGanges by the Buddha when he left Rajagriha to visit Vaisali (partial remain).(John Marshall, A Guide to Sanchi, p. 38. Calcutta: Superintendent, Government Printing (1918), p.73).
Hieroglyph: pericarp of lotus: kárṇikā f. ʻ round protuberance ʼ Suśr., ʻ pericarp of a lotus ʼ MBh., ʻ ear -- ring ʼ Kathās. [kárṇa -- ] Pa. kaṇṇikā -- f. ʻ ear ornament, pericarp of lotus, corner of upper story, sheaf in form of a pinnacle ʼ; Pk. kaṇṇiā -- f. ʻ corner, pericarp of lotus ʼ; Paš. kanīˊ ʻ corner ʼ; S. kanī f. ʻ border ʼ, L. P. kannī f. (→ H. kannī f.); WPah. bhal. kanni f. ʻ yarn used for the border of cloth in weaving ʼ; B. kāṇī ʻ ornamental swelling out in a vessel ʼ, Or. kānī ʻ corner of a cloth ʼ; H. kaniyã̄ f. ʻ lap ʼ; G. kānī f. ʻ border of a garment tucked up ʼ; M. kānī f. ʻ loop of a tie -- rope ʼ; Si. käni, kän ʻ sheaf in the form of a pinnacle, housetop ʼ.(CDIAL 2849) rebus: supercargo: kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ]Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ. (CDIAL 3058) Helmsman: कर्णिक m. a steersman W.; having a helm (Monier-Williams)
Hierogoyph: hawk: śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala)
Semantic determinant: Hieroglyph: wings: *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ] S. khambhu, °bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236)
Hieroglyph: tiger, feline paw: kola 'tiger' rebus: kol 'working in iron' PLUS panja 'feline paw' rebus: panja 'kiln, furnace, smelter'. Thus, the hypertext reads: kol panja sena kammaṭa'iron smelter thunderbolt mint.
PLUS ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, copper, alloy metal mint. PLUS kuṭa 'umbrella' rebus: koḍ 'workshop' PLUS panja 'feline paws' rebus: panja 'furnace, kiln'.
Ta. kuṭai umbrella, parasol, canopy. Ma. kuṭaumbrella. Ko. koṛ umbrella made of leaves (only in a proverb); keṛ umbrella. To. kwaṛ id. Ka. koḍe id., parasol. Koḍ. koḍe umbrella.
-- Evidence of Rgveda Soma & eagle & Indus Script hieroglyph decipherment of Sirkap, Takshasila
--Roots of Gaṇḍabheruṇḍa which are ketu 'proclamations' to signify strength, sovereignty, valour and power are traced to آهن ګر āhan gar, अहन्-गार् 'blacksmith' (Pashto.Kashmiri) śyena, śeṇ 'eagle' hieroglyph, Garutman = aśáni (RV) = वज्र 'a kind of hard iron or steel' thunderbolt products
--the double-headed eagle symbols are derived from Rgveda śyena-soma narratives
A double-headed eagle relief, 13th-century (Seljuk/Ayyubid period) architectural fragment found at Konya
-- आहनस् āhanas a. [आ-हन्-असुन्] 1 To be beaten or pressed out (as Soma)(Rgveda) is a pun on the expression अहन् 'iron' and confirms that Soma is also called pajra. The hieroglyph which signifies this are Meluhha words pajhar 'eagle' rebus: pasra 'smithy, forge', pajra 'Soma'. Pajra are artisans Angirases, who work with आङ्गारāṅgāra [अङ्गाराणां समूहः अण्] A multitude of firebrands, charcoal.
A pair of eagles ligatured with feline paws. Achaemenid griffin capital - Persepolis, Iran (Persia/Parsa) c.516-465BCE
A compartmented incised seal. From Gonur in Margiana. After Sarianidi
Parpola, Asko 2005. Administrative contact and acculturation between Harappans and Bactrians: Evidence of sealings and seals. Pp. 267-274 in: Catherine Jarrige & Vincent Lefèvre (eds.), South Asian Archaeology 2001, vol. 1: Prehistory. Paris: Éditions Recherche sur les Civilisations.
Hieroglyph: eruvai 'kite' Rebus: eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tu.lex.) Rebus: eraka = copper (Ka.) eruvai = copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a = syn. erka, copper, weapons (Ka.) The central dot in the cross (which signifies a fire-altar) is: goTa 'round' Rebus: khoT 'ingot'. gaNDA 'four' rebus: kanda.'fire-altar'
The eagle hypertext appears in association with 'twisted' rope or snake hieroglyphs.
Two seals from Gonur 1 in thee Murghab delta; dark brown stone ((Sarianidi 1981 b: 232-233, Fig. 7, 8) eagle engraved on one face.
m0451Am0451BText 3235
Field symbol 1: पोळा [ pōḷā ] 'zebu, bos indicus taurus' rebus: पोळा [ pōḷā ] 'magnetite, ferrite ore: Fe3O4'
Field symbol 2: śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674)
seṇa 'falcon' rebus: seṇa, aśani 'thunderbolt', āhan gar 'blacksmith' PLUS kambha 'wing' rebus: kammaṭa 'mint, coiner, coinage[Metwork catalogues: ferrite ore, blacksmith mint] Alternate titles: sēnāpati m. ʻ leader of an army ʼ AitBr. [sḗnā -- , páti -- ]Pa. sēnāpati -- , °ika -- m. ʻ general ʼ, Pk. sēṇāvaï -- m.; M. śeṇvaī, °vī, śeṇai m. ʻ a class of Brahmans ʼ, Ko. śeṇvi; Si. senevi ʻgeneralʼ.(CDIAL 13589) Vikalpa:eruvai ‘eagle’ rebus: eruvai ‘copper’
Rebus: senā ʻ chisel:
Ka. cāṇa, cāna, cēṇa a small chisel. Tu. cēṇů, cēnů awl, chisel. Te. sēnamu id.(DEDR 2445) chēdana ʻ cutting ʼ, n. ʻ act of cutting ʼ MBh., ʻ instru- ment for cutting ʼ lex. [√chid]Pa. chēdana -- n. ʻ cutting ʼ, °naka -- m. ʻ one who cuts ʼ; Pk. chēaṇa -- n. ʻ cutting, a tool ʼ; K. ċhyunu m. ʻ goldsmith's chisel ʼ; S. cheṇī f. ʻ smith's cold chisel ʼ; L. awāṇ. che_ṇī ʻ chisel ʼ; P. chaiṇī f. ʻ cold chisel ʼ, ludh. chainī f.; WPah. bhal. chiṇi f. ʻ iron wedge for splitting wood ʼ; Ku. chīṇo ʻ iron crowbar ʼ, gng. cheṇi ʻ a tool ʼ; N. chinu, cheni ʻ chisel ʼ; A. senā ʻ chisel, instrument for letting blood ʼ; B. cheni ʻ wedge ʼ; Or. cheṇā ʻ scraping a log with an adze, iron pick ʼ, cheṇī ʻ cold chisel, punch ʼ, Bi. Bhoj. Aw. lakh. chēnī; H. chenī f. ʻ chisel for notching millstones ʼ; G. cheṇī, chīṇī f. ʻ chisel ʼ; Si. sevana ʻ separation ʼ. -- Influenced by verbal forms from MIA. *chēā̆vaï s.v. chēdayati: S. chevaṇī f. ʻ potter's cutting string ʼ; N. chewani ʻ chisel ʼ, H. chewnī f.(CDIAL 5066) Ka. cīraṇa, cīrṇa, jīrṇa a small chisel, esp. used in cutting metals. Te. cīraṇamu a small chisel. / Cf. Mar. cirṇẽ id. (DEDR 2627)चिरणेंciraṇēṃ n A tool of carpenters, a small chisel. (Marathi)
சேனன் cēaṉaṉ,n. <sēnā. An ancient title; ஒரு பழைய பட்டப்பெயர். சந்துசேனனு மிந்துசேன னுந் தருமசேனனும் (தேவா. 859, 4).சேன் cēṉ,n. See சேனன். புரவிச்சே னென் றியாவரும் புகழப்பட்டார் (சீவக. 1681).
Text 3235
loa 'ficus glomerata' Rebus: loha 'copper, iron'. PLUS karṇī‘ears’ rebus: karṇī 'supercargo, scribe' [supercargo in charge of copper, iron ores]
kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass' Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥकौटिलिकः 1 A hunter.-2 A blacksmith PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings. [bronze castings]
khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting' [metal implement castings]
dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). khaṇḍa 'implements'. Thus, ingots and implements [ingots, implements]
ayo, aya 'fish' rebus: aya 'iron' ayas 'metal alloy' (Rigveda) PLUS khambhaṛā 'fish-fin rebus: kammaṭa 'mint, coiner, coinage'.PLUS sal ‘splinter’ rebus: sal ‘workshop’ [alloy metal mint workshop]
Thus, the Mohenjodaro tablet is a metalwork catalogue of: 1.ferrite ore; 2.blacksmith mint, army general.
Accounted sub-categories:
[supercargo in charge of copper, iron ores]
[bronze castings]
[metal implement castings]
[ingots, implements]
[alloy metal mint workshop]
Notice the anthropomorph double-headed eagle with tongues of flames emrging from the beaks on the seal of Assyrian King Ashur. Also notice the sacred fire altars + shapes and the culm of millet at the bottom.
Tongues of Fire emerge out of the mouths/beaks of the eagles:RV says śyena ISअग्नि the god of fire; gold. The pair of eagles is flanked by a pair of sacred fire-altars: koṇḍa 'live coals in a pit' = sacred अग्नि-कुण्ड |The semantic determinative for the word koṇḍa is provided by the hieroglyph: culm of millet or holcus sorghum:खोंडा khōṇḍā 'a variety of जोंधळा millet' Rebus: koṇḍa 'sacred fire altar, live coals in a pit'. The cylinder seal impression signifies آهن ګر āhan gar 'blacksmith' (Pashto) śyena, śeṇ 'eagle' hieroglyph working with koṇḍa 'live coals in a pit' = sacred अग्नि-कुण्ड The wings of the eagles are: kambha '. ' rebus: kammaṭa'mint, coiner, coinage'| آهن ګر āhan gar 'blacksmith' is a mint-worker. On the top register, the sacred hieroglyph of the winged sun is shown: arka 'sun's rays' rebus: arka 'copper, gold' PLUS kambha '. ' rebus: kammaṭa'mint, coiner, coinage'|
Seal impression from Ashur; seal of an Assyrian king of the 14th century BCE (Collon, Dominique. 1987 First Impressions: Cylinder Seals in the Ancient Near East. The University of Chicago Press, Chicago. Illustration 276) The narrative on the seal impression shows a double-headed winged eagle with a humanoid body. A 'cross' hieroglyph signifying a fire-altar flanks the anthropomorphic representation.
In the Mari procession, the priest carries a hieroglyph of 'one-horned young bull' on a pedestal of rein-rings held aloft on a flagstaff which itself is a hieroglyph which is a millet culm. The proclamation in plain text Meluhha is:
Eleusine coracana, finger millet culm is comparable to the flagstaff carried by the priest on Mari procession.I submit that the Meluhha word is खोंडाkhōṇḍā 'a variety of जोंधळा millet' Rebus: koṇḍa 'sacred fire altar, live coals in a pit'.
-- khōṇḍa 'young bull' rebus koṇḍa, kuṇḍa, kō̃da 'sacred fire-altar; live coals in a pit'.
This monograph demonstrates that अग्नि-कुण्ड is documented on thousands of Indus Script inscriptions by demonstrating that the 'unicorn' has a bovine hieroglyph component which signifies khōṇḍa 'young bull' rebus:koṇḍa 'live coals in a pit'. A ligatured hieroglyph to this young bull is: singhin 'forward-thrusting, spiny horned' rebus: singi 'ornament gold'; thus the khōṇḍa singi 'unicorn' signifies a sacred fire-altar for ornament gold. Scores of Indus Script inscriptions signify अग्नि-कुण्ड as a + hieroglyph.
अग्नि--कुण्ड is a pan with live coals (रामायण); a hole or enclosed space for the consecrated fire(कथासरित्सागर);सर्व्वाधिकारिकं कुण्डंचतुरस्रन्तुसर्व्वदम्” ।चतुरस्रंचतुष्कोणम्॥Thus, generally, कुण्डं is a 'four-cornered' structure. Such a structure is called khoṇḍ 'square'
(Santali)
Thousands of Indus Script inscriptions detail such an अग्नि--कुण्ड using a hieroglyph component in a hypertext called 'forward-thrusting, spiny horned young bull'.
The sacred fire-altar is signified by the hieroglyph of the bovine, khōṇḍa 'young bull'. The rebus readings with variant Meluhha sprachbund pronunciations are:
Set 1:
(Kannada) కుండముkunḍamu. [Skt.] n. An earthen pot. A pit or pot for receiving and preserving consecrated fire. A fire pit నిప్పులగుండము.
Set 2:
kō̃daकोँद।कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल्।कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñü --खस॑ञू॒।कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used. (Kashmiri) kọ̆nḍuक्वं॑डु॒or konḍu 1कं॑डु॒।कुण्डम् m. a large bowl or basin, a cauldron for cooking or other use (cf. liwan-kọ̆nḍu, s.v. liwun; maĩzi-ko, s.v. maĩz); (amongst Hindūs) a hole dug in the ground for receiving consecrated fire; i.q. kŏnḍ, q.v. -kās -कास्।कार्यसमाप्तिपूर्वकोऽवकाशः m. 'removal of the (dirty) pots and pans after a feast'; hence, leisure after the completion of a work (Kashmiri)
"The Hittite walled city of Alaca Hüyük was important as a ceremonial center during to the 14th-13th centuries BCE (Alexander, Robert L., 1989 A Great Queen on the Sphinx Piers at Alaca Hüyük. Anatolian Studies 39:151-158. ). The double-headed eagle is prominently displayed on the eastern section of the Sphinx Gate grasping two prey animals, likely hares...Recognizing that much of Mesopotamian culture transmitted northwest from the southeast (Sumer) over time, and that the use of the double-headed eagle followed the same route, the relationships of the objects are generally understood, even if the meanings behind the iconography are not." (Jesse C. Chariton, 2011, https://www.uwlax.edu/urc/jur-online/PDF/2011/chariton.ARC.pdf
The sacred double-headed temple has a temple in Sirkap, Takṣaśila. The double-headed eagle is an Indus Script hypertext to signify kār-kunda, 'manager of kiln',āhan gar, 'blacksmith', maker of asaṇi, vajrāśani 'Indra's thunderbolt' signified by श्येन 'm. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man)' RV. &c. It is veneration of the thunderbolt maker, blacksmith, āhan gar -- an expression derived fromश्येन 'hawk' 1) attested in R̥gveda. .श्येन is name of a ऋषि (having the patr. आग्नेय and author of RV. x , 188; and 2) double eagles celebrated in Rāmāyaṇa: सम्-पाति m.N. of a fabulous bird (the eldest son of अरुण or गरुड and brother of जटायु) MBh. R. &c and जटायु m.N. of the king of vultures (son of अरुण and श्येनी MBh. ; son of गरुड R. ; younger brother of सम्पाति ; promising his aid to राम , out of regard for his father दश-रथ , but defeated and mortally wounded by रावण on attempting to rescue सीता) MBh. i , 2634 ; iii , 16043ff. and 16242ff R. i , iii f.
A Steatite vessel, 16 cm. square, from Tepe Yahya
Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255
फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c. Ta. patam cobra's hood. Ma.paṭam id. Ka.peḍe id. Te.paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛkihood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Rebus: phaḍaफड ‘manufactory, company, guild, public office’, keeper of all accounts, registers. dhanga 'mountain range' Rebus: dhangar 'blacksmith'
Ta. eruvai a kind of kite whose head is white and whose body is brown; eagle. Ma. eruva eagle, kite.(DEDR 818). Rebus: eruvai ‘copper’ (Tamil).
kanda.’fire-altar’.khamba ‘wing’ rebus: kammaTa ‘mint’.gaṇḍa ‘four’ Rebus: khaṇḍa ‘metal implements. Together with cognate ancu ‘iron’ the message is: native metal implements mint. श्येन [p= 1095,2]m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle Śulbas. (Monier-Williams) śyēnám. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala):
aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. &circmacrepsilon;n (both with n, not ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)
Cylinder seal, impression Jasper cylinder seal, Mesopotamia, Uruk Period, 4100 BC–3000 BC. This early seal depicts lion-headed eagles and two Serpopards (mythical long-necked lion beasts). Serpopards also appear on the Narmer Palette, an important artifact from Ancient Egypt's first dynasty. This may mean the Serpopard is an ancient cross-cultural symbol with great importance.
How a Two Headed Bird of Prey Ruled Ancient Mesopotamia and Hatti
Several infamous empires of the early modern period and current modern periods bore curious insignia. The Byzantine, Austrian, and Russian Empires all adopted the symbol of a mythical creature, a double-headed eagle, to show off their imperial control of such vast lands. But the reality is that the double-headed eagle’s origins are far from modern: They trace to one of the most ancient of societies, that of Mesopotamia.
The Customized Cylinder Seal
A means of signifying possession of items declared would be to own a customized cylinder seal, popularized in Mesopotamia in the latter half of the fourth millennium BC. Unique patterns and the owner’s name were often inscribed onto a personal seal, which would then be impressed onto a malleable surface, creating “the value of a signature” (Tessier xxii). When rolled-out onto a clay tablet that mentioned animals, land, slaves, or anything else, the distinctive seal impression would indicate the owner’s identity and what exactly they owned.
Previously, stamp seals (which contained a singular image) were popular, but cylindrical seals were able to be rolled all over a clay surface to seal it up—which “ensured the security of goods and authenticated documents” (Tessier ibid.). By rolling out the cylinder seal through multiple rotations, a repetition of the figures would be shown, the same scene engraved and over when rolled out, creating multiple identical scenes.
Old Babylonian cylinder seal, 1800 BC. (Hjaltland Collection / CC BY-SA 3.0 )
Different seals showed different things; some bore just the owner’s name and a patronymic, while others boasted names of a deity. Others contained scenes of mythical creatures, like the double-headed eagle, bull-humans battling lions, or sphinxes. The eagle, in its various incarnations, appeared to represent various Mesopotamian gods like Anzu and Etana. But it’s in the Hittite world, located in modern Turkey, that the double-headed eagle really took flight albeit separately from other double-headed mythical animals in Mesopotamian lore.
Embracing the Double-Headed Eagle
As the Assyrians moved westward in the second millennium BC, they brought their myths and symbols with them. Perhaps this is the origin of the Hittite adoption of the double-headed eagle, most notably depicted at the site of Yazilikaya a religious sanctuary near the capital of Hattusa. Some images previously prominent on cylinder seals eventually moved to a grandiose scale at Yazilikaya.
A ritual center made up of rock outcroppings engraved with sacred reliefs, Yazilikaya, dating from approximately the thirteenth century BC, looms large in the archaeological imagination of Hittite religion. It shows the Hittite royals—highlighted by King Hattusilis III and his wife, the prominent priestess and well-documented queen Puduhepa—worshiping the gods and being honored in turn. Later generations of the family seemingly continued work at Yazilikaya.
Eagle-topped column from the royal burial mound at Karakuş
Double-Headed Eagle Shrine (2nd century B.C. to 2nd century CE)
Sirkap, Takshasila, Gandhara
"The second city at Taxila is called Sirkap and was founded by the Bactrian king Demetrius, who conquered this region in the 180s BCE, and rebuilt by king Menander. Taxila's sanctuaries reflect the multicultural nature of the Indo-Greek kingdom, which consisted not only of the Punjab, but also of Gandhara, (i.e., the valley of the Kabul and Swat), Arachosia, and a part of the Ganges valley." https://www.livius.org/pictures/a/maps/map-of-taxila/
22nd conference of the European Association for South Asian Archaeology and Art / EASAA 55
Francesca Tagliatesta
Some Remarks about the Motif of two-headed Eagle at Sirkap Stûpa (Taxila)
The iconography of the double eagle, located in the Buddhist monument of Sirkap-Taxila allows to study a pattern of diffusion in the Asian cultures: the two-headed eagle, synthetic variant of the two eagles, attested in the reliefs of the kings of the Hellenistic Commagene and of the Armenia, and going back to the solar and regal values of an emblem of the Achaemenid sovereignty and of subsequent conceptions of the Iranian kingship (Parthian and Sassanid). His durable presence within the Iranian traditions, and for the Kushanas as well, reconfirms the high value attributed to this bird, such as to similar birds of prey (falcon and griffin) who are the protagonists of mythical events and epics related to heroic qualities. It leads to question about the reasons for its appearance in a Buddhist temple. Certainly many factors must have played a preponderant role: the atavistic aspect of the nomadic origins of the Kushanas, and the role of guiding animals and totemic animals, common to many cultures of the steppes; to which adding an element of Achaemenian continuity that must have inspired the Kushan royal ideology, due to the fact that their kingdom extended over the old provinces of the Achaemenian empire (as the Gandhara, the Arachosia, the Sind). It is also worth noticing the widespread Indo-Buddhist mythology of fabulous birds, like the two eagles (in the Rgveda) or Garuda, and the Zoroastrian mythology of birds that gave rise to the fantastic pattern of Simorg, a very popular topic in the Iranian literatures. There are many points of views to study this relief of two-headed eagle, being an artistic device easily recognizable by a lot of ethnic and cultural subjects. And settled in a place of worship (a stupa) belonging to the Buddhism, a religion which had a large increase and diffusion in this time, thanks to generous donations from merchants and goods that circulated in a vast area of trading with the West Roman Empire and China. The persistence of this motif through the centuries, from antiquity to Eastern Middle Ages, was such as to promote the spread westward, as demonstrated by Byzantine studies, attesting its presence in Anatolia, during its progressive Turcification under the Seljuks, a people moving from the Central Asian areas of the Iranians and Kushanas, and bringing an ancient and composite heritage of culture, traditions and iconography
The shrine is awash in Bactrian Greek influences brought to the area by Alexander's army, who unwittingly left a Hellenic cultural imprint. The columns decorating the sides of the shrine are clearly Corinthian and the pediment is classically Greek. This is not to say that the shrine is entirely Greek—far from it. There are also Indian influences, notably in the other niches. The one on the left is almost an ogee (onion-shaped) arch, while the one on the right is a torana, or ornamented Indian gateway.
Niches of Sirkap double-eagles compare with Begram ivory toranas and Sanchi Bharhut toranas Sanchi torana Bharhut torana Begram ivory Sirkap, stupa in the shape of a Roman temple stupa
Sirkap, stupa of the double-headed eagle ca. 30 BCE–ca. 80 CE from the Scytho-Parhian era.
Syena-citi: A Monument of Uttarkashi The first layer of one kind of śyenaciti or falcon altar described in the Śulbasūtras, made of 200 bricks of six shapes or sizes, all of them adding up to a specified total area.
Distt.EXCAVATED SITE -PUROLA Geo-Coordinates-Lat. 30° 52’54” N Long. 77° 05’33” E Notification No& Date;2742/-/16-09/1996The ancient site at Purola is located on the left bank of river Kamal. The excavation yielded the remains of Painted Grey Ware (PGW) from the earliest level alongwith other associated materials include terracotta figurines, beads, potter-stamp, the dental and femur portions of domesticated horse (Equas Cabalus Linn). The most important finding from the site is a brick alter identified as Syenachiti by the excavator. The structure is in the shape of a flying eagle Garuda, head facing east with outstretched wings. In the center of the structure is the chiti is a square chamber yielded remains of pottery assignable to circa first century B.C. to second century AD. In addition copper coin of Kuninda and other material i.e. ash, bone pieces etc and a thin gold leaf impressed with a human figure tentatively identified as Agni have also been recovered from the central chamber.http://asidehraduncircle.in/uttarkashi.html
KV Sarma mentions:
“Pravara Sena I, who is placed around at 275 AD to 335 AD by the authors Ramesh Chandra Majumdar and Anant Sadashiv Altekar in this book, is said to have conducted all Yajnams successfully including the most difficult Vajapeya Yajnam, after which he was given the title “Samrat”, which can be loosely translated to Emperor in English.
Pravarasena I (275 - 335 AD) performed Athirathra Yajnam
While dates of Pravarasena I, Vakatakas and Gupta dynasty is a topic of huge controversy and discussion, one cannot disprove the argument that Pravarasena conducted Athirathram and other Yajnams.
In Mycenaean Greece, evidence of the double-eagle motif was discovered in Grave Circle A, an elite Mycenaean cemetery; the motif was part of a series of gold jewelry, possibly a necklace with a repeating design.
Harvard College.
1901.7 Reproduction of a Gold Mycenaean Ornament Helladic period, Late Mycenaean https://hvrd.art/o/59553
The sceptre of tsar Michael I of Russia was decorated with a three-headed eagle, and representations of the design are found in Russian symbolism. The literary anthology Lado, published in 1911, opens with a poem "Slavic Eagle" (Славянский орел) by Dmitriy Vergun, in which the three heads are explained as representing the union of three races which contributed to the genesis of Russia, the "western" head representing the Varangians, the "eastern head" the Mongols and the central head the Slavs.
The Gandaberunda or Berunda (Kannada: ಗಂಡಭೇರುಂಡ gaṇḍabheruṇḍa), or Bheruṇḍa (Sanskrit: भेरुण्ड, lit. terrible) is a two-headedbird in Hindu mythology, believed to possess immense magical strength. It was the emblem of the erstwhile Kingdom of Mysore under the Wodeyar kings, and after India attained independence, it was retained by Mysore state as its emblem. That state was enlarged in 1956 and renamed Karnataka in 1973, and the Gandabherunda continues to be the official state emblem of Karnataka. It is used as the officialemblem of the Karnataka state government because it is a symbol of strength. It is believed to be capable of fighting the forces of destruction. It appears as an intricately carved sculpturemotif in Hindu temples.
"Bherundesvara Pillar
Bherundeshvara Pillar – This is the most striking object standing in the village of Balligavi. You will find this pillar, on a cross-road, where it stands in its full majesty. This huge pillar, about 9 m high, has its base enclosed by a small structure. It is raised over a two-tiered platform of about 3 m height. Now known as Garudha-khamba, this pillar was originally erected to support a life-like statue of Ganda-Berunda.
Gandaberunda, Balligavi, Shimoga. This statue of Gandaberunda was installed in the Berundeshwara temple in Balligavi by Chamundarayarasa, a General of the Chalukya king Trailokyamalla in the 11th century. This pillar was erected by maha-mandalesvara Chamunda-rayarasa in 1047 CE, when he was ruling over Banavasi-12000, Santalige-300 and Hayve-500. Chamnuda-rayarasa was under the service of the Kalyana Chalukya king Somesvara I. The inscription mentions that this pillar was erected in front of god Jagadekamallesvara. God Jagadekamallesvara would have been setup by the Chamunda-rayarasa as he was also known by the title Jagadhekamalla. No remains of this temple survive except this singular pillar standing tall...The statue of Ganda-Berunda is no more on the top of the pillar. It is kept inside the enclosure on which this pillar is standing. It is kept inside a locked gate. Ganda-Berunda represents a mythological bird, having half-bird and half-human body."
Gandaberunda, Balligavi, Shimoga. "Indeed, in the Chennakeshava temple of Belur, the Gandaberunda depiction is a carved scene of “chain of destruction”. Initially, a deer is prey to a large python, which is lifted by an elephant; a lion attacks the elephant, and the lion shown as being devoured by Sharabha, another creature that is part lion, part bird. The last scene depicted is of Gandaberunda destroying Sharabha….a depiction of the food chain, in its own way. This double-headed bird icon is used as the official emblem of the Karnatka government."https://bengaluru.citizenmatters.in/mythological-beings-nature-imagined-7495
An early instance of the design is found on a sculpture on the roof of the Rameshwara temple in the temple town of Keladi in Shivamogga.
Left:Gandaberunda as roof sculpture, Rameshwara temple, Keladi. Right:Decorative motif in the ceiling of Brihadeeswarar temple
The ceiling painting of the Virupaksha Temple at Hampi illustrates a double-headed bird.
Mystical Bird Gandaberunda
Gandaberunda, a two-headed mythological bird
Gandaberunda (Gun-daa-bhae-rundaa, from Kannada) is an Indian mythological bird. It is always shown with two heads and beaks, and believed to possess magnificient strength. The Wodeyars, the erstwhile kings of Mysore, used the bird as their royal logo, and beautiful paintings of the bird can be found in the period art.
A Gandaberunda is lifting four elephants effortlessly.
Line drawing based on a temple sculpture, Karnataka
Gandaberunda- The Two Headed Bird The mystical bird of Gandabherunda is featured in the emblem of the state of Karnataka. The compound name is made of ganda,the mighty, and bherunda meaning "two headed".Its origin has been traced in hoary past in different ancient civilizations, more than 4,000 years back. The concept of two headed bird existed among Hittites, Egyptians and Sumerians as well as Hindus. The first human beings pondered over the regular movement of the Sun, tree of life and big birds soaring high in the sky all the time. This idea developed perhaps, into a celestial bird, watching in all directions.
In Egypt and Assyria it was associated with a fertility cult. It traveled through trading tribes to different regions of the then known world.
Vedic India had its concept of two birds moving eternally. Garuda in later times, received a divine stature as vehicle of Vishnu, with mythological significance. These two must have been behind the concept of mighty Gandabherunda.
In Indian subcontinent, the sculpture of this mythical bird found in Taxila (a.k.a. Taxasila) is the oldest.
The Legend of Gandabherunda
Lord Vishnu assumed avatar of Narasimha (half man-half beast) to slay demon Hiranyakashipu. But this avatar became so omnipotent that the benevolent gods began to fear of total destruction. Hence they prayed Lord Shiva. Shiva then assumed the form of Sharabha, (a mythical bird) and tamed Narasimha. (man-lion). Vishnu then transformed himself into Gandabherunda and faced Sharabha. Gandabherunda thus came to be known as symbol of immense power. Later this mighty mythical bird was adopted as an emblem by several rulers.
In Karnataka, the Balligave Gandabherunda is the oldest (1047 C.E). Installed on a tall stone pillar, this figure has human form and two heads of a large mythical bird with sharp beak. This bird appears in many temples built in middle ages. In Karnataka, Gandabherunda is carved in the scene of "chain of destruction", in the Chennakeshava temple of Belur (1113 C.E). A deer becomes prey to a big python, which in turn is lifted by an elephant. A lion attacks the elephant and the lion itself is devoured by Sharabha. Finally it is Gandabherunda which finishes off Sharabha. Dr. K.L. Kamat, in his book, "Prani-Parisara" in Kannada has dealt with this sculpture as an ancient concept of food chain, in the environment. During the Hoysala rule in the 13th century CE, Gandabherunda appeared on coinage as well. Vijayanagara King Achyutadevaraya’s (1530-42 CE) gold & copper coins carry this symbol. After the Vijayanagar rule, Nayakas of Madura and Keladi, continued the usage. Mysore Wodeyars also followed, by introducing a slight change of a lion and vyali in the paws of the bird. Today, Gandabherunda occupies pride of place as Karnataka State emblem, carrying 4,000 years of history on its wings!
For a proper description of the evolution of the Gandabherunda which is the Royal Insignia in Mysore, we have to go back to tradition in the first instance. Vishnu became incarnate as Narasimha to destroy the demon Hiranyakasipu and to rescue his devotee Prahlada and the mad fury of Vishnu threatened the destruction of the Universe. Siva assumed the form of a Sarabha which was the terror of the lion. Thereupon tradition proceeds, Vishnu immediately took the form of Gandabherunda which is superior to Sarabha and lives on its flesh. It is this Gandabherunda or the double headed eagle which forms the Royal Insignia or the Coat-of-Arms in Mysore. Coming to the Vedas we find that the winged disc and the tree of life are recognised as indicating the spread of Aryan culture in the Near East. Frankfort from a study of the North Syrian designs has argued that the winged sun-disc of the Egyptian monuments was the most impressive of symbols of the Egyptian empire in the second millennium B.C., and that it was combined with the Indo-European conception of a pillar supporting the sky - the sky being pictorially represented by means of the outstretched wings supported on one or two pillars and surmounted by a disc. There was also the Mesopotamian sun-standard, where the sun was represented by a pole with a star (?) The pillar was also connected with the "Asherah" or " sacred tree "(1). Therefore this motif in the Mitannian glyptic was a synthetic product of Egyptian, Mesopotamian and Aryan cultures. He quotes Holmberg(2), to show that Rig-Veda and Atharva Veda mention the cosmic pillar which separates heaven and earth and supports the first, a motive which
____________
(1)Frankfort. Cylinder Seals, p. 277.
(2)Holmberg. "Barem des Lebens ", Annales Acad. Scientiarum Fennica tom 16 p. 5.
Built by – Minister Senadilankara of King Buwanekabahu IV of Gampola (AD 1344 – 1354) Architecture – South Indian Painting – Kandyan era Designer / Artist – Sthapathirayar http://trips.lakdasun.org/arts-of-kandy.htm
Bactria: Diodotos I or II, as king
Gold stater, c. 250-230 BCE
Weight:8.24 gm., Diam:18 mm., Die axis:7h
Bust of Diodotos facing right/
Zeus standing left, hurling thunderbolt
Greek legend: BAΣIΛEΩΣ ΔIOΔOTOY (of King Diodotos)
Bactria: Diodotos I
in the name of Antiochos II
Silver tetradrachm, c. 250 BCE
Weight: 16.06 gm., Diam: 26 mm., Die axis: 6h
Bust of Diodotos facing right/
Zeus standing left, hurling thunderbolt
Greek legend: BAΣIΛEΩΣ ANTIOXOY
monogram and eagle in left field
Ref: MIG 64e, Bop 2E
in the name of Antiochos IIBactria: Diodotos I Eagle associated with thunderbolt
The unique form of the Gandaberunda led to kingdoms like Chalukyan, Hoysalas, Keladi Nayakas, and the Kadambas and of course the Wadiyars using the motif in crests and seals. Vijayanagar king Achyuta Deva Raya (1529–1542) was perhaps the first to use the Gandaberunda image on gold pagodas (gadyana) (Figure 7).
Achyutaraya Gold pagoda or gadyana Weight: 3.37 gm. Diameter: 11-12 mm Die axis: 7 o'clock Gandaberunda (double-headed eagle) standing facing, holding an elephant in each beak and in each foot Three-line Devanagari legend: sri pra / ta pa chyu ta / ra ya Reference: MNI 908, MSI 671 Achyutaraya was the first king to put the mythical gandaberunda, or double-headed eagle, on his coins, even though the symbol was quite ancient and had been used many times before on crests and seals. It is even today used on the emblem of Karnataka state and on many institutional crests in that state.Achyutaraya Gold 1/2 pagoda Weight: 1.69 gm. Diameter: 10-11 mm Die axis: 2 o'clock Gandaberunda (double-headed eagle) walking left, holding an elephant in each beak and in each foot Three-line Devanagari legend: sri pra / ta pa chyu ta / ra ya Reference: MNI ---, MSI 673 Achyutaraya AE kasu, Madurai Weight: 3.26 gm. Diameter: 13 mm Die axis: 3 o'clock Gandaberunda (double-headed eagle) displayed, holding a snake in each beak, surrounded by a dotted and then a ruled circular border Stylized trident or flower Reference: MNI ---, MSI ---, Ganesh Coins of Tamilnadu, 13.48 http://coinindia.com/galleries-vijayanagar2.html
Two ½ pagoda coins from Vijayanagar showing a Gandabherunda and elephants.From the time of king Achytaraya (1529-1542).
5th-century Gupta-era coin, Garuda with snakes in his claws cngcoins.com
Ancient Hellenistic Thracian pin with Swastika Symbol (Pelasgian-Illyrian-Albanian). Unprovenanced. Source: http://www.ufo-contact.com/ancient-swastika/hellenistic-thracian-pin Two Indus Script Hypertexts are proclaimed on this metallic pin: śyena PLUS svastika. These texts signify: śyena 'eagle' rebus: آهن ګرāhan gar 'smith,blacksmith' PLUS dula 'pair' rebus: dul 'metal caster'; thus, metalcaster blaksmith PLUS working with sattuva 'svastika hieroglyph' rebus: sattuva,jasta 'zinc, pewter'.
5,000 yr-old Jiroft Board Games - World’s Oldest Backgammons! قدیمی ترین تخته نرد های جهان در جیرفت As archaeologist and expert of Louvre Museum Jean Perrot noted in the Persian Journal article, the lay-out of the "holes" on the "eagle" boards discovered in Jiroft, Kerman - IRAN is highly suggestive of the twenty squares game boards excavated by Woolley in Sumer, the so-called "Royal Game of Ur."
Ceiling relief, Rameshwara temple, Keladi.Russian imperial eagle, Saint Petersburg "The double-headed eagle motif appears to have its ultimate origin in the Ancient Near East, especially in Hittite iconography. It re-appeared during the High Middle Ages, from circa the 10th or 11th century, and was notably used by the Byzantine Empire, but 11th or 12th century representations have also been found originating from Islamic Spain, France and the Serbian principality of Raška. From the 13th century onward, it became even more widespread, and was used by the Seljuk Sultanate of Rum and the Mamluk Sultanatewithin the Islamic world, and by the Holy Roman Empire, Serbia and Russia within the Christian world. Used during the late Byzantine Empire as a dynastic emblem of the Palaiologoi, it was adopted during the late Medieval to Early Modern period in the Holy Roman Empire on one hand, and in Orthodox principalities Serbia and Russia on the other, representing an augmentation of the (single-headed) eagle or Aquila associated with the Roman Empire...Use of the double-headed eagle in Hittite imagery has been interpreted as "royal insignia".(Collins, Billie Jean. 2010 "Animal Mastery in Hittite Art and Texts" in The Master of Animals in Old World Iconography, ed. Derek B. Counts and Bettina Arnold, pp. 59-74. Main Series, Number 24, Archaeolingua Foundation, Budapest.)A monumental Hittite relief of a double-headed eagle grasping two hares is found at the eastern pier of the Sphinx Gate at Alaca Hüyük.(Jesse D. Chariton, The Mesopotamian Origins of the Hittite Double-Headed Eagle, University of Wisconsin–La Crosse Journal of Undergraduate Research XIV (2011)." https://en.wikipedia.org/wiki/Double-headed_eagle
Hittite stamp seal (Von der Osten, Hans Henning. 1926 The Snake Symbol and the Hittite Twist. American Journal of Archaeology 30(4): 405-417. Figure 26)
The central scene of the shrine of Yazilikaya Chamber A, with the double-headed eagle supporting two goddesses (perhaps daughter and granddaughter of storm god Teshub) (Akurgal, Ekrem. 1973 Ancient Civilizations and Ruins of Turkey. Istanbul, Haset Kitabevi.Figure 151)
Stone slab with Double-Headed Eagle
Bulgarian (Stara Zagora), 10th-11th century
Red schist 72.5 Í 110 cm. Nasionalen Arkheologicheski Muzei, Sofia Inv. nr.B: 854.
Double headed bird
at Sirkap Stupa (1st century BCE-1st century CE)
GandabherundaDetail from Garudasthambha temple pillar,Konkani Math, Goa (13th century ?)
Gandabherunda with lions and elephants. Keladi Temple from the time of Shivappa Nayaka (reigned 1645–1660) (Karn.).
After the Vijayanagar rule, Nayakas of Madura and Keladi, continued the usage. Mysore Wodeyars also followed, omitting the lions and elephants.
Gandabherunda is in the emblem of Karnataka State (India). Also it is the emblem of Ternate Sultanate (Indonesia).
The eastern pier of the Sphinx Gate at Alaca Hüyük, showing the double-headed eagle grasping two hares (Alexander, Robert L. 1986 The Sculpture and Sculptors of Yazilikaya. University of Delaware Press, Newark. Plate XXXIXa)
"Alacahöyük or Alaca Höyük (sometimes also spelled as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk) is the site of a Neolithic and Hittitesettlement and is an important archaeological site. It is situated in Alaca, Çorum Province, Turkey, northeast of Boğazkale (formerly and more familiarly Boğazköy), where the ancient capital city Hattusa of the Hittite Empire was situated...The mound (Turkish höyük) at Alacahöyük was a scene of settlement in a continuous sequence of development from the ChalcolithicAge, when earliest copper tools appeared alongside the use of stone tools. During the Early Bronze Age, the mound was the center of a flourishing Hattian culture. It has been continuously occupied ever since, until today's modern settlement in the form of a small village. The standing and distinguishing remains at Alacahöyük, however, such as the "Sphinx Gate", date from the Hittite period that followed the Hatti, from the fourteenth century BCE. Thirteen shaft-grave "Royal Tombs" (EBII, ca. 2350-2150 BC) in Alacahöyük contained the dead in fetal position facing south. They were richly adorned with gold fibulae, diadems, and belt buckles and repoussé gold-leaf figures..According to Trevor Bryce, ″There is a theory that the occupants of the tombs were not from the native Hattian population of central Anatolia, but were Kurgan immigrants from the region of Maikop in southern Russia, who spoke an Indo-European language and perhaps became rulers of the local Hattian population.″ (Trevor Bryce, The Routledge Handbook of the Peoples and Places of Ancient Western Asia: The Near East from the Early Bronze Age to the Fall of the Persian Empire. Routledge, 2013 p. 21)" https://en.wikipedia.org/wiki/Alaca_Hoyuk
The right wing of the stereobate of the Shrine of Double-Headed Eagle, in Block F in Sirkap.
The sculptures are, from left to right, a Greek-style gabled temple,
an Indian-style Chaitya-like facade surmounted with a double-headed bird,
and an Indian-style Torana-like gate.
Each partitioning pilaster has a Greek Corinthian capital.
There are no other objects that show the character of Gandharan art more plainly,
the encounter and mixture of cultures of the East and West.
Soma casts off his Asuric várna or nirn.ijam,'clothing'
असुरm. pl. N. of a warrior-tribe , (g. पर्श्व्-ादि , q.v.); m. x AV. &c [these असुरs are often regarded as the children of दिति by कश्यप » दैत्य ; as such they are demons of the first order in perpetual hostility with the gods , and must not be confounded with the राक्षसs or imps who animate dead bodies and disturb sacrifices]; m. the chief of the evil spirits RV. ii , 30 , 4 and vii , 99 , 5; m. a spirit , good spirit , supreme spirit (said of वरुण) RV. VS. (Monier-Williams)
वर्णm. (or n. g. अर्धर्चा*दि , prob. fr. √1. वृ ; ifc. f(आ).) a covering , cloak , mantle; a cover , lid Yajn. iii , 99; cf. accord. to some , Slav. vranu , " black " , " a crow " ; Lith. vArnas , " a crow. "]; outward appearance , exterior , form , figure , shape , colour RV. Thus, when Soma casts off his asuric varna, the process of black iron ore transforming into golden colour liquid form is referred to.
Wilson:
RV 9.086.39 Flow, Indu, who are the winner of cattle, wealth, and gold, the fructifier, placed upon the waters; you, Soma, are a hero, omniscient; you these sages approach with praise
RV 9.086.40 The wave of the sweet-flavoured (Soma) excites voices (of praise); clothed in water the mighty one plunges (into the pitcher); the king whose chariot is the filter mounts for the conflict, and, armed with a thousand weapons, wins ample sustenance (for us).
RV 9.71.2 The powerful (Soma) advances with a roar like a slayer of men; he puts forth that asura-slaying tint of his; he abandons bodily infirmity; the food goes to the prepared (altar); he assumes a form advancing to the outstretched (filter). [asura-slaying tint: i.e., green;or varn.am means 'protecting strength'; the food: i.e., the Soma; pituh = juice or food; tana_ = in the filter outstretched by the sheep-skin].
RV 9.99.1 They stretch the bow of manhood for the beloved courageous (Soma); (the priests) wishing to worship spread out the white filter for the mighty (Soma) in the presence of the sage (deities). [In RV. 9.006.003, the r.s.is are the two rebhasunus = son of Rebha. spread out the white filter: nirn.ijam vayanti = they weave a garment].
Griffith:
RV 9.86,.39 Winner of gold and goods and cattle flow thou on, set as impregner, Indu, mid the worlds of life.
Rich in brave men art thou, Soma, who winnest all: these holy singers wait upon thee with the song.
RV 9.86.40 The wave of flowing meath hath wakened up desires: the Steer enrobed in milk plunges into the streams.
Borne on his chariotsieve- the King hath risen to war, and with a thousand rays hath won him high
renown.
RV 9.71.2 Strong, bellowing, he goes, like one who slays the folk; he lets this hue of Asuras flow off
from him,
Throws off his covering, seeks his fathers' meeting place-, and thus makes for himself the bright
robe he assumes.
RV 9.99.1 THEY for the Bold and Lovely One ply manly vigour like a bow:
joyous, in front of songs they weave bright raiment for the Lord Divine.
Wilson translation RV4.026.04 May this bird, Maruts, be pre-eminent over (other) hawks, since with a wheelless car the swift-winged bore the Soma, accepted by the gods, to Manu. [With a wheelless car: acakraya_ vadhaya_ = cakrarahitena rathena, with a car without wheels; the text has havyam, this is a metonymy for the Soma, which is said to have been brought from heaven by the ga_yatri_, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma]. 4.026.05 When the bird, intimidating (its guardians), carried off from hence (the Soma) it was at large; (flying) swift as thought along the vast path (of the firmament), it went rapidly with the sweet Soma, and the hawks thence acquired the celebrity in this world. 4.026.06 The straight-flying hawk, conveying the Soma from afar; the bird, attended by the gods, brought, resolute of purpose, the adorable exhilarating Soma, having taken it from that lofty heaven.
4.026.07 Having taken it, the hawk brought the Soma with him to a thousand and ten thousand sacrifices, and this being provided, the performer of many (great) deeds, the unbewildered (Indra) destroyed, in the exhilaration of the Soma, (his) bewildered foes.
4.027.01 Being still in the germ, I have known all the births of these divinities in their order; a hundred bodies of metal confined me, but as a hawk I came forth with speed. [i.e., until the sage comprehended the differences between the body and soul, and learned that soul was unconfined, he was subject to repeated births; but in this stage he acquired divine knowledge, and burst through the bonds with the force and celeriy of a hawk from its nest; va_madeva s'yena ru_pam a_stha_ya garbha_d yogena nihsr.tah = Va_madeva, having assumed the form of a hawk, came forth from the womb by the power of Yoga (Ni_timan~jari)]. 4.027.02 That embryo did not beguile me into satisfaction, but by the keen energy (of divine wisdom), I triumphed over it; the impeller of all, the sustainer of many, abandoned the foes (of knowledge), and, expanding, passed beyond the winds (of worldly troubles). [The impeller of all: the parama_tma_, or supreme spirit; beyond the winds: the vital airs, or life, the cause of worldly existence, which is pain]. 4.027.03 When the hawk screamed (with exultation) on his descent from heaven, and (the guardians of the Soma) perceived that the Soma was (carried away) by it then, the archer of Kr.s'a_nu, pursuing with the speed of thought, and stringing his bow, let fly an arrow against it. 4.027.04 The straight-flying hawk carried off the Soma from above the vast heaven, as (the As'vins carried off) Bhujyu from the region of Indra, and a falling feather from the middle of the bird dropped from him wounded in the conflict. [antah parn.am tan madhye sthitam; one nail of the left foot and the shaft was broken by the collision, the fragments of the nail became the quills of the fretful porcupine, those of the arrow, water-snakes, flying foxes, and worms]. 4.027.05 Now may Maghavan accept the pure nutritious (sacrificial) food in a white pitcher, mixed with milk and curds, offered by the priests; the upper part of the sweet (beverage) to drink for his exhilaration; may the hero accept (it) to drink for (his) exhilaration.
Griffith: RV 1.112.21 Wherewith ye served Krsanu where the shafts were shot, and helped the young mans' horse to swiftness in the race; Wherewith ye bring delicious honey to the bees, Come hither unto us, O Asvins, with those aids. Wilson: 1.112.21 With those aids by which you defended Kr.s'a_nu in battle, with which you succoured the horse of the young Purukutsa in speed, and by which you deliver the pleasant honey to the bees; with them, As'vins, come willingly hither. [Kr.s'a_nu are somapa_las, vendors or providers of Soma; hasta-suhasta-kr.s'a_navah, te vah somakrayan.ah (Taittiri_ya Sam.hita_ 1.2.7); kr.s'a_nu = agni; purukutsa was the son of Mandha_ta_ and husband of Narmada_, the river; the text has only 'of the young', Purukutsa is added].
1. I As I lay within the womb, considered all generations of these Gods in order. A hundred iron fortresses confined me but forth I flew with rapid speed a Falcon. 2 Not at his own free pleasure did he bear me: he conquered with his strength and manly courage. Straightway the Bold One left the fiends behind him and passed the winds as he grew yet more mighty. 3 When with loud cry from heaven down sped the Falcon, thence hasting like the wind he bore the Bold One. Then, wildly raging in his mind, the archer Krsanu aimed and loosed the string to strike him. 4 The Falcon bore him from heavens' lofty summit as the swift car of Indras' Friend bore Bhujyu. Then downward hither fell a flying feather of the Bird hasting forward in his journey. 5 And now let Maghavan accept the beaker, white, filled with milk, filled with the shining liquid; The best of sweet meath which the priests have offered: that Indra to his joy may drink, the Hero, that he may take and drink it to his rapture.
Griffith RV 9.77.2 On flows that Ancient One whom, hitherward, from heaven, sped through the region of the air, the Falcon snatched. He, quivering with alarm and terrified in heart before bowarmed- Krsanu, holdeth fast the sweet.
Wilson RV 9.77.2 9.077.02 The ancient (Soma) flows, which the hawk, despatched (for the purpose), brought down from heaven passing through the (third) world; he detaches the sweet-flavoured (Soma) flying downwards, with mind full of fear of the archer Kr.s'a_nu. [He detaches: sah = Soma; a reference to the hawk, who is afraid of Kr.s'a_nu, the protector of Soma. The legend is in Aitareya Bra_hman.a 3.26].
Grifith RV 10.64.8 The thriceseven- wandering Rivers, yea, the mighty floods, the forest trees, the mountains, Agnito our aid, Krsanu, Tisya, archers to our gatheringplace-, and Rudra strong amid the Rudras we invoke.
Wilson RV 10.64.8 10.064.08 We invoke for protection the thrice seven flowing rivers, (their) great waters, the trees, the mountains, Agni, Kr.s'a_nu, the archers, and Tis.ya, to the assembly; (we invoke) Rudra, worthy of the praise of the Rudras, for the good of the praisers. [Kr.s'a_nu: the gandharva so named; the archers are the gandharvas accompanying him; they are the guardians, of the Soma; Tis.ya: naks.atra, a heavenly-archer like Kr.s'a_nu? some of the other expressions denote the articles of sacrifice: the water, the ladles, the grinding stones, the Soma; for the good of the praisers: among the Rudras].
कृशानुःkṛśānuḥ [कृश्आनुक्; Uṇ.4.2] Fire; गुरोःकृशानुप्रतिमाद्बिभेषि R.2.49;7.24;10.74; Ku.1.51; Bh.2.107. -Comp. -यन्त्रम् (= अग्नियन्त्रम्) a cannon; अथसपदिकृशा- नुयन्त्रगोलैः ......Śiva. B.28.85. -रेतस्m. an epithet of Śiva.(Apte)
कृशानुm. (fr. √कृश् for कृष्?) , " bending the bow " , N. applied to a good archer (connected with /अस्तृ , " an archer " , though sometimes used alone ; कृशानु , according to some , is a divine being , in character like रुद्र or identified with him ; armed with the lightning he defends the " heavenly " सोम from the hawk , who tries to steal and bear it from heaven to earth) RV. VS. iv , 27 AitBr. iii , 26;N. of अग्नि or fire VS. v , 32 S3a1n3khS3r. vi , 12 , 3;(hence) fire Sus3r. Ragh. Kum. Bhartr2. (Monier-Williams)
(Apte) कृशनn. a pearl , mother-of-pearl RV. i , 35 , 4 and x , 68 , 11 AV. iv , 10 , 7; gold Naigh. i , 2; mfn. yielding or containing pearls AV. iv , 10 , 1 and 3 (cf. Kaus3. 58)
कृशानुपु०कृश--आनुक्।१वह्नौ२चित्रकवृक्षेचअमरः।तस्यतन्नामकत्वात् “तस्मिन्कृशानुसाद्भूते” भट्टिः।३सोमपालके। “इत्कृशानोरस्तुर्मनसाहबिभ्युषा” ऋ०९, ७७, २, “कृशानोःसोमपालस्यः” “कृशानुःसोमपालःसव्यस्यपदः” ऐत०ब्रा०३, २६, भा०। “कृशानुरस्तामनसाभुरण्यन्” ऋ०४, २७, ३, “कृशानुरेतन्नामकःसोमपालः”भा०।४सव्यपार्श्वस्यरश्मिधारकेच। “कृशानो! सव्याना-यच्छ” ता०व्रा० “कृशानुर्नामसव्यपार्श्वस्थानांरश्मीनांधारयितेति” भा०।ततःमत्वर्थेगोषदा०टन्।कृशानुकवह्नियुक्तेत्रि०तद्गणेकृशानुस्थानेकृशाकुइतिवापाठःकृशाकोश्चवह्निरेवाऽर्थः।
He, quivering with alarm and terrified in heart before bowarmed- Krsanu, holdeth fast the sweet.
Wilson: 9.077.02 The ancient (Soma) flows, which the hawk, despatched (for the purpose), brought down from heaven passing through the (third) world; he detaches the sweet-flavoured (Soma) flying downwards, with mind full of fear of the archer Kr.s'a_nu. [He detaches: sah = Soma; a reference to the hawk, who is afraid of Kr.s'a_nu, the protector of Soma. The legend is in Aitareya Bra_hman.a 3.26].
8.100.08 Suparn.a, rushing swift as thought, passed through the metal city; then having gone to heaven he brought the Soma to the thunderer. [He brought the Soma to the thunderer: Legend : Ga_yatri_ as a bird fetched Soma from heaven. a_yasi_m = metal, hiran.mayi_m, golden; an allusion to the cities of the demons as made of metal on earth, silver in the firmament and gold in heaven (Aitareya Bra_hman.a 1.23)].
3.043.07 Drink, Indra, of the bountiful (libation) expressed by the beneficent (stones); that which the falcon has borne to you desiring it, in whose exhilaration you cast down (opposing) men, in whose exhilaration you have set open the clouds. [That which the falcon: A legend in Aitareya Bra_hman.a, Pan~cika_ III, Adhya_ya 13: Soma grew formerly only in heaven, the r.sis and the gods considered how it might be brought down to earth, and desired the Cha_ndasas, the metres of the Vedas, to bring it; changing themselves to birds (suparn.as), they undertook the office; the only one who succeeded, however, was the ga_yatri_, in the shape of a hawk (s'yeni_), and she was wounded by an arrow shot by one of the somapa_las, or gandharvas, the guardians of the Soma, thence termed somabhra_ja_s, which cut off a nail of her left foot; the ichor (blood-tinged discharge) from the wound became the vasa_ of the burnt offering].
Yasht XIV which refers to a raven, Vareghan, is a narrative based on Rigveda, which explains that a hawk carried off Soma from the summit of the mountain and was brought back by Gayatri (while Agni was brought back by Vayu):
Aitareya Brahmana, 13.2 (Pancika 3.26)
Sahasah svajah…
This narrates how Gayatri brought from heaven soma for gods and sages. “Having gone to heaven, she frightened the guardians of soma, picked it up in her feet and mouth, and started to return. At this point, one of the guardians of soma, Krs’aanu by name, shot an arrow at her which cut off the nail of her left foot. From that nail arose a porcupine (s’alyakah), and the fat (vas’am) that flowed became a barren cow (vas’aa). The Brahmana text (as read by Keith, following Aufrecht) then goes on to say: atha yah s’alyo yad aniikam aasiit sa sarpo nirdams’y abhavat sasah svajo yaani parnaani te manthaavalaa yaani snaavaani te ganduupadaa yat tejanam so ‘ndhaahih so saa tatheshur abhavat. Keith (Rgveda Brahmanas – HOS, XXV), Cambridge, Mass., 1920) translates the passage as follows: ‘The socket and the point became a serpent, not biting; from its swiftness (came) the viper (svaja); the feathers became flying foxes, the sinews earthworms, the shaft the blind snake. Thus became the arrow’.” (M. A. Mehendale and A. T. Hatto, 1971, Notes and Communications: Sahasah Svajah in the Aitareya Brahmana, 13.2 (Pancikaa 3.26), Bulletin of the School of Oriental and African Studies, University of London Vol. 34, No. 2 (1971), pp. 376-386).
Notes: “The s’alya ‘socket’ (Keith) has also been understood by all the Indian commentators as the metallic arrow-head (e.g. s’alyah krsnaayasanirmito baanaagre sthaapitah: Saayana)…In Ait. Br. 4.8, Saaayana interprets aniika ‘point’ (Keith) as ‘shaft’ (patrayuktaad baanamuulaad uurdhvavartii bhaago mukham) and tejana ‘shaft’ (Keith) as the ‘sharp point’ of the metal head (tasya lohasya tiiksnam agram). But while commenting on Ait. Br. 13.2, he reverses this position and takes aniika to mean the ‘tip’ of the arrow-head (s’alyasya yad aniikam mukham) and tejana to mean the ‘shaft’ (lohapatravyatiriktam kaastham)…On TS 6.2.3 where aniika, s’alya, and tejana occur as names of the parts of an arrow, Bhattabhaskara explains them as aniikam = mukham (ishoh), s’alyam = s’ariiram puccham vaa, and tejanam = dhaaraam kaastham vaa. ” The non-biting snake is called dundubha.
Svaja, according to Saayana is ‘a snake that has heads at both ends.’ (cf. meaning in Monier-Williams lexicon, p.1275). स्व--जm. a viper AV. AitBr. A1pS3r. (accord. to Sa1y. , " a snake that has heads at both ends ")
The narrative is clear that Gayatri as the falcon brought back Soma. A metal-pointed arrow had hurt her. The shaft became the snake with heads at both ends.
Wilson: RV 1.035.04 The many-rayed adorable Savita_, having power (to disperse) darkness from the world, has mounted his nigh-standing chariot, decorated with many kinds of golden ornaments, and furnished with golden yokes.
Griffith: RV 1.35.4 His chariot decked with pearl, of various colours, lofty, with golden pole, the God hath mounted,
The manyrayed- One, Savitar the holy, bound, bearing power and might, for darksome regions.
Who is कृशानुः kṛśānuḥ? He is the guardian of soma, 'wealth, dhanam'
I submit that कृशानुः kṛśānuḥ is the artisan bowman who uses a large curved sword like a bow saw to cut the turbinella pyrum and other material to create useful artifacts.
S’ankha artifacts: Wide bangle made from a single conch shell and carved with a chevron motif, Harappa; marine shell, Turbinella pyrum (After Fig. 7.44, Kenoyer, 1998) National Museum, Karachi. 54.3554. HM 13828. Seal, Bet Dwaraka 20 x 18 mm of conch shell. Seven shell bangles from burial of an elderly woman, Harappa; worn on the left arm; three on the upper arm and four on the forearm; 6.3 X 5.7 cm to 8x9 cm marine shell, Turbinella pyrum (After Fig. 7.43, Kenoyer, 1998) Harappa museum. H87-635 to 637; 676 to 679. Modern lady from Kutch, wearing shell-bangles.
6500 BCE. Date of the woman’s burial with ornaments including a wide bangle of shankha. Mehergarh. Burial ornaments made of shell and stone disc beads, and turbinella pyrum (sacred conch, s’an:kha) bangle, Tomb MR3T.21, Mehrgarh, Period 1A, ca. 6500 BCE. The nearest source for this shell is Makran coast near Karachi, 500 km. South. [After Fig. 2.10 in Kenoyer, 1998]. S’ankha wide bangle and other ornaments, c. 6500 BCE (burial of a woman at Nausharo). Glyph: ‘shell-cutter’s saw’
– 1. The entire technological sequence based on archaeological evidence from Indus civilization sites (after Kenoyer 1984 a ); 2. Conch-shell cutter from a miniature of the 19th century using a traditional conch-cutting saw (after Shoberl 1822); 3. Chopping off apex portion of the conch-shell; 4. Partition of the spire in several blanks/circlets with a traditional conch-cutting saw; 5. Shaping uniformly the blanks/circlets to make a set of bangles with perfectly fitting contours; 6. Filing the inner surface of the bangle. Images 3-6 reproduce conch-shell bangle manufacture on the basis of modern evidence documented at Vishnupur, West Bengal, India (after Untracht 1997).
Griffith translation: RV 4.26.4 Before all birds be ranked this Bird, O Maruts; supreme of falcons be this fleetwinged- Falcon,Because, strong- pinioned, with no car to bear him, he brought to Manu the Godloved oblation. 5 When the Bird brought it, hence in rapid motion sent on the wide path fleet as thought he hurried. Swift he returned with sweetness of the Soma, and hence the Falcon hath acquired his glory. 6 Bearing the stalk, the Falcon speeding onward, Bird bringing from afar the draught that gladdens, Friend of the Gods, brought, grasping fast, the Soma which be bad taken from yon loftiest heaven. 7 The Falcon took and brought the Soma, bearing thousand libations with him, yea, ten thousand. The Bold One left Malignities behind him, wise, in wild joy of Soma, left the foolish.
Wilson RV 4.26:
4.026.01 I have been Manu and Su_rya; I am the wise r.s.i: Kaks.i_vat; I have befriended Kutsa, the son of Arjuni; I am the far-seeing Us'ana_s; so behold me. [Attributed to Va_madeva: the sage uttered the verse and the following two verses, while yet in the womb, knowledge of truth being generated in him, and enabling him to identify himself with universal existence; through the eye of supreme truth I am everything, parama_rtha dr.s.t.ya_ kr.tsnam aham asmityarthah, we have, thus, the statement of the pantheistic basis for Veda_nta]. 4.026.02 I gave the earth to the venerable (Manu); I have bestowed rain upon the mortal who presents (oblations); I have let forth the sounding waters; the gods obey my will. [To the venerable Manu: the text has only a_ryaya; Ma_nave is added]. 4.026.03 Exhilarated (by the Soma beverage) I have destroyed the ninety and nine cities of S'ambara, the hundredth I gave to be occupied by Divoda_sa when I protected him, Atithigva, at his sacrifice. 4.026.04 May this bird, Maruts, be pre-eminent over (other) hawks, since with a wheelless car the swift-winged bore the Soma, accepted by the gods, to Manu. [With a wheelless car: acakraya_ vadhaya_ = cakrarahitena rathena, with a car without wheels; the text has havyam, this is a metonymy for the Soma, which is said to have been brought from heaven by the ga_yatri_, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma]. 4.026.05 When the bird, intimidating (its guardians), carried off from hence (the Soma) it was at large; (flying) swift as thought along the vast path (of the firmament), it went rapidly with the sweet Soma, and the hawks thence acquired the celebrity in this world. 4.026.06 The straight-flying hawk, conveying the Soma from afar; the bird, attended by the gods, brought, resolute of purpose, the adorable exhilarating Soma, having taken it from that lofty heaven. 4.026.07 Having taken it, the hawk brought the Soma with him to a thousand and ten thousand sacrifices, and this being provided, the performer of many (great) deeds, the unbewildered (Indra) destroyed, in the exhilaration of the Soma, (his) bewildered foes.
1. I, As I lay within the womb, considered all generations of these Gods in order. A hundred iron fortresses confined me but forth I flew with rapid speed a Falcon. 2 Not at his own free pleasure did he bear me: he conquered with his strength and manly courage. Straightway the Bold One left the fiends behind him and passed the winds as he grew yet more mighty. 3 When with loud cry from heaven down sped the Falcon, thence hasting like the wind he bore the Bold One. Then, wildly raging in his mind, the archer Krsanu aimed and loosed the string to strike him. 4 The Falcon bore him from heavens' lofty summit as the swift car of Indras' Friend bore Bhujyu. Then downward hither fell a flying feather of the Bird hasting forward in his journey. 5 And now let Maghavan accept the beaker, white, filled with milk, filled with the shining liquid; The best of sweet meath which the priests have offered: that Indra to his joy may drink, the Hero, that he may take and drink it to his rapture.
Wilson: RV 4.27
4.027.01 Being still in the germ, I have known all the births of these divinities in their order; a hundred bodies of metal confined me, but as a hawk I came forth with speed. [i.e., until the sage comprehended the differences between the body and soul, and learned that soul was unconfined, he was subject to repeated births; but in this stage he acquired divine knowledge, and burst through the bonds with the force and celeriy of a hawk from its nest; va_madeva s'yena ru_pam a_stha_ya garbha_d yogena nihsr.tah = Va_madeva, having assumed the form of a hawk, came forth from the womb by the power of Yoga (Ni_timan~jari)]. 4.027.02 That embryo did not beguile me into satisfaction, but by the keen energy (of divine wisdom), I triumphed over it; the impeller of all, the sustainer of many, abandoned the foes (of knowledge), and, expanding, passed beyond the winds (of worldly troubles). [The impeller of all: the parama_tma_, or supreme spirit; beyond the winds: the vital airs, or life, the cause of worldly existence, which is pain]. 4.027.03 When the hawk screamed (with exultation) on his descent from heaven, and (the guardians of the Soma) perceived that the Soma was (carried away) by it then, the archer of Kr.s'a_nu, pursuing with the speed of thought, and stringing his bow, let fly an arrow against it. 4.027.04 The straight-flying hawk carried off the Soma from above the vast heaven, as (the As'vins carried off) Bhujyu from the region of Indra, and a falling feather from the middle of the bird dropped from him wounded in the conflict. [antah parn.am tan madhye sthitam; one nail of the left foot and the shaft was broken by the collision, the fragments of the nail became the quills of the fretful porcupine, those of the arrow, water-snakes, flying foxes, and worms]. 4.027.05 Now may Maghavan accept the pure nutitious (sacrificial) food in a white pitcher, mixed with milk and curds, offered by the priests; the upper part of the sweet (beverage) to drink for his exhilaration; may the hero accept (it) to drink for (his) exhilaration.
Shaft-hole axhead with a double-headed eagle ligatured to a human body, boar,and winged tiger, late 3rd–early 2nd millennium BCE Central Asia (Bactria-Margiana) Silver, gold foil; 5 7/8 in. (15 cm) “Western Central Asia, now known as Turkmenistan, Uzbekistan, and northern Afghanistan, has yielded objects attesting to a highly developed civilization in the late third and early second millennium B.C. Artifacts from the region indicate that there were contacts with Iran to the southwest. Tools and weapons, especially axes, comprise a large portion of the metal objects from this region. This shaft-hole axhead is a masterpiece of three-dimensional and relief sculpture. Expertly cast in silver and gilded with gold foil, it depicts a bird-headed hero grappling with a wild boar and a winged dragon. The idea of the heroic bird-headed creature probably came from western Iran, where it is first documented on a cylinder seal impression. The hero's muscular body is human except for the bird talons that replace the hands and feet. He is represented twice, once on each side of the ax, and consequently appears to have two heads. On one side, he grasps the boar by the belly and on the other, by the tusks. The posture of the boar is contorted so that its bristly back forms the shape of the blade. With his other talon, the bird-headed hero grasps the winged dragon by the neck. The dragon, probably originating in Mesopotamia or Iran, is represented with folded wings, a feline body, and the talons of a bird of prey.”
baḍhia 'a castrated boar, a hog'(Santali) বরাহbarāha 'boar' Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala).
The Persian word sīmurğ (سیمرغ) derives from Middle Persian 𐭮𐭩𐭭𐭬𐭥𐭫𐭥 sēnmurw (and earlier sēnmuruγ), also attested in Pazend texts as sīna-mrū. The Middle Persian word comes from Avestanmərəγō Saēnō "the bird Saēna", originally a raptor, likely an eagle, falcon, or sparrowhawk, as can be deduced from the etymological cognate Sanskritśyenaḥ (श्येन) "raptor, eagle, bird of prey", which also appears as a divine figure. https://en.wikipedia.org/wiki/Simurgh
श्येनm. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV.
Zimmer, Altindisches Leben, 87, 88, who points out that the epithet ṛjipya, ‘flying upwards,’ applied to the eagle, appears as an actual name of the eagle in Iranian.
Rv. iv. 38, 5.
Rv. ii. 42, 2;
i. 32, 14; 33, 2; 118, 11; 163, 1; 165, 2
Finds at Purola include Painted Gray Ware dated to ca. 1000 BCE. 24x18 m. vedika discovered in Purola, ca. 2nd cent. BC to 1st cent. CE. Laid out in the east-west direction. "Researchers also uncovered a square central chamber measuring 60 x 60 cm. in the middle of the altar. Excavation of this pit yielded five red-ware miniature bowls containing ash, charcoal, sandy clay and copper coins of the Kuninda period. But the most important discovery was an impressed gold-leaf showing a human figure in flowing apparel. Along with this was found a circular gold pendant and a small piece of a -chain. A lot of charcoal and charred bones were also recovered from the chamber." https://www.facebook.com/ouruki/posts/720924017918479
24x18 m. vedika discovered in Purola, ca. 2nd cent. BC to 1st cent. CE. Laid out in the east-west direction. "Researchers also uncovered a square central chamber measuring 60 x 60 cm. in the middle of the altar. Excavation of this pit yielded five red-ware miniature bowls containing ash, charcoal, sandy clay and copper coins of the Kuninda period. But the most important discovery was an impressed gold-leaf showing a human figure in flowing apparel. Along with this was found a circular gold pendant and a small piece of a -chain. A lot of charcoal and charred bones were also recovered from the chamber." https://www.facebook.com/ouruki/posts/720924017918479
श्येन [p= 1095,2]m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle S3ulbas. (Samskritam)
Syena-citi: A Monument of Uttarkashi The first layer of one kind of śyenaciti or falcon altar described in the Śulbasūtras, made of 200 bricks of six shapes or sizes, all of them adding up to a specified total area.
PUROLA, District Uttarkashi
The ancient site at Purola is located on the left bank of river Kamal in District Uttarkashi. The excavation carried out by Hemwati Nandan Bahuguna University, Srinagar Garhwal. The site yielded the remains of Painted Grey Ware (PGW) from the earliest level along with other associated materials include terracotta figurines, beads, potter-stamp and the dental and femur portions of domesticated horse (Equas Cabalus Linn). The most important finding from the site is a brick alter identified as Syena chitti by the excavator. The structure is in the shape of a flying eagle Garuda, head facing east with outstretched wings having a square chamber in the middle yielded the remains of pottery assignable to circa first century B.C. to second century AD along with copper coin of Kuninda , bone pieces and a thin gold leaf impressed with a human figure identified as Agni have also been recovered from the central chamber.
Hieroglyph: పోలడు (p. 0825) [ pōlaḍu ] , పోలిగాడు or దూడలపోలడుpōlaḍu. [Tel.] n. An eagle. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.)
Allograph: पोळ [ pōḷa ] m A bull dedicated to the gods, marked with a trident
and discus, and set at large.
Rebus:Russian gloss, bulat is cognate pola 'magnetite' iron in Asuri (Meluhha). Magnetite is the most magnetic of all the naturally occurring igneous and metamorphic rocks with black or brownish-black with a metallic luster. These magnetite ore stones could have been identified as pola iron by Meluhha speakers. Kannada gloss pola meaning 'point of the compass' may link with the characteristic of magnetite iron used to create a compass.pŏlāduwu made of steel; pŏlād प्वलाद् or phōlād फोलाद् मृदुलोहविशेषः ] m. steel (Gr.M.; Rām. 431, 635, phōlād). pŏlödi pōlödi phōlödi लोहविशेषमयः adj. c.g. of steel, steel (Kashmiri) urukku what is melted, fused metal, steel.(Malayalam); ukk 'steel' (Telugu)(DEDR 661) This is cognate with famed 'wootz'steel. "Polad, Faulad" for steel in late Indian languages is traceable to Pokkhalavat, Polahvad. Pokkhalavat is the name of Pushkalavati, capital of Gandhara famed for iron and steel products.
Allograph: పొల [ pola ] or పొలసు pola. పొలుసు [ polusu ][Telugu] A scale of a fish. చేపమీది పొలుసు. Tu. poḍasů scales of fish. Te. pola, polasu, polusu id. Kui plōkosi id. (DEDR 4480). పొలుపు [ polupu ] or పొల్పు polupu. [Telugu] Firmness,స్థైర్యము. "పొలుపుమీరిన నెలవంకిబొమలు జూచి, రమణదళుకొత్తుబింబాధరంబుజూచి." Rukmang. i. 158
I am unable to access an image showing the picture of a human figure impressed on a thin gold leaf at Purola. Perhaps, the human figure is comparable to the image of the 'archer' shown on Kalibangan terracotta cake. If so, the image may also be inferred as kamAThiyo 'archer' rebus: kammaTa 'coiner, mint'. Perhaps, the processing done in the fire-altar related to some metallic alloys to create Kuninda type coins.
श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle S3ulbas. (Samskritam)
Syena-citi: A Monument of Uttarkashi The first layer of one kind of śyenaciti or falcon altar described in the Śulbasūtras, made of 200 bricks of six shapes or sizes, all of them adding up to a specified total area.
"Purola A 12 km drive from Lakhamandal leads to Nowgaon from where a bifurcation through an iron bridge leaves the Yamuna river behind. The landscapes changes and pine adorned grassy valley appears. Purola, fed by the Kamal river, is undoubtedly the biggest terraced rice field valley in the entire state of Uttarakhand. The rice fields, primarily producing the rare red rice, stretch in an area more than 10 km dissected by the Kamal river. Purola is a fast developing market from where a passage leads to the ancient ASI site dating back to 2ndcentury B.C. The Yagya Vedica (burnt brick alter) is unique in its kind resembling a floating Garuda. During excavation a good number of Sunga-Kushana period (2ndcentury B.C.- 2ndcentury A.D.) red wares and coins belonging to the Kuninda rulers were discovered. Purola valley is the biggest divide between the Yamuna and the Tons Valley."
Translation of RV 4.26 and 4.27 by Sayana/Wilson:
4.026.01 I have been Manu and Su_rya; I am the wise r.s.i: Kaks.i_vat; I have befriended Kutsa, the son of Arjuni; I am the far-seeing Us'ana_s; so behold me. [Attributed to Va_madeva: the sage uttered the verse and the following two verses, while yet in the womb, knowledge of truth being generated in him, and enabling him to identify himself with universal existence; through the eye of supreme truth I am everything, parama_rtha dr.s.t.ya_ kr.tsnam aham asmityarthah, we have, thus, the statement of the pantheistic basis for Veda_nta]. 4.026.02 I gave the earth to the venerable (Manu); I have bestowed rain upon the mortal who presents (oblations); I have let forth the sounding waters; the gods obey my will. [To the venerable Manu: the text has only a_ryaya; Ma_nave is added]. 4.026.03 Exhilarated (by the Soma beverage) I have destroyed the ninety and nine cities of S'ambara, the hundredth I gave to be occupied by Divoda_sa when I protected him, Atithigva, at his sacrifice. 4.026.04 May this bird, Maruts, be pre-eminent over (other) hawks, since with a wheelless car the swift-winged bore the Soma, accepted by the gods, to Manu. [With a wheelless car: acakraya_ vadhaya_ = cakrarahitena rathena, with a car without wheels; the text has havyam, this is a metonymy for the Soma, which is said to have been brought from heaven by the ga_yatri_, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma]. 4.026.05 When the bird, intimidating (its guardians), carried off from hence (the Soma) it was at large; (flying) swift as thought along the vast path (of the firmament), it went rapidly with the sweet Soma, and the hawks thence acquired the celebrity in this world. 4.026.06 The straight-flying hawk, conveying the Soma from afar; the bird, attended by the gods, brought, resolute of purpose, the adorable exhilarating Soma, having taken it from that lofty heaven. 4.026.07 Having taken it, the hawk brought the Soma with him to a thousand and ten thousand sacrifices, and this being provided, the performer of many (great) deeds, the unbewildered (Indra) destroyed, in the exhilaration of the Soma, (his) bewildered foes.
4.027.01 Being still in the germ, I have known all the births of these divinities in their order; a hundred bodies of metal confined me, but as a hawk I came forth with speed. [i.e., until the sage comprehended the differences between the body and soul, and learned that soul was unconfined, he was subject to repeated births; but in this stage he acquired divine knowledge, and burst through the bonds with the force and celeriy of a hawk from its nest; va_madeva s'yena ru_pam a_stha_ya garbha_d yogena nihsr.tah = Va_madeva, having assumed the form of a hawk, came forth from the womb by the power of Yoga (Ni_timan~jari)]. 4.027.02 That embryo did not beguile me into satisfaction, but by the keen energy (of divine wisdom), I triumphed over it; the impeller of all, the sustainer of many, abandoned the foes (of knowledge), and, expanding, passed beyond the winds (of worldly troubles). [The impeller of all: the parama_tma_, or supreme spirit; beyond the winds: the vital airs, or life, the cause of worldly existence, which is pain]. 4.027.03 When the hawk screamed (with exultation) on his descent from heaven, and (the guardians of the Soma) perceived that the Soma was (carried away) by it then, the archer of Kr.s'a_nu, pursuing with the speed of thought, and stringing his bow, let fly an arrow against it. 4.027.04 The straight-flying hawk carried off the Soma from above the vast heaven, as (the As'vins carried off) Bhujyu from the region of Indra, and a falling feather from the middle of the bird dropped from him wounded in the conflict. [antah parn.am tan madhye sthitam; one nail of the left foot and the shaft was broken by the collision, the fragments of the nail became the quills of the fretful porcupine, those of the arrow, water-snakes, flying foxes, and worms]. 4.027.05 Now may Maghavan accept the pure nutitious (sacrificial) food in a white pitcher, mixed with milk and curds, offered by the priests; the upper part of the sweet (beverage) to drink for his exhilaration; may the hero accept (it) to drink for (his) exhilaration.
Translation of RV 4.26 and 4.27 by Griffith: 1. I WAS aforetime Manu, I was Surya: I am the sage Kaksivan, holy singer. Kutsa the son of Arjuni I master. I am the sapient Usana behold me. 2 I have bestowed the earth upon the Arya, and rain upon the man who brings oblation. I guided forth the loudlyroaring- waters, and the Gods moved according to my pleasure. 3 In the wild joy of Soma I demolished Sambaras' forts, ninetyandnine—, together; And, utterly, the hundredth habitation, when helping DivodasaAtithigva. 4 Before all birds be ranked this Bird, O Maruts; supreme of falcons be this fleetwinged- Falcon, Because, strong- pinioned, with no car to bear him, he brought to Manu the Godloved oblation. 5 When the Bird brought it, hence in rapid motion sent on the wide path fleet as thought he hurried. Swift he returned with sweetness of the Soma, and hence the Falcon hath acquired his glory. 6 Bearing the stalk, the Falcon speeding onward, Bird bringing from afar the draught that gladdens, Friend of the Gods, brought, grasping fast, the Soma which be bad taken from yon loftiest heaven. 7 The Falcon took and brought the Soma, bearing thousand libations with him, yea, ten thousand. The Bold One left Malignities behind him, wise, in wild joy of Soma, left the foolish.
1. I, As I lay within the womb, considered all generations of these Gods in order. A hundred iron fortresses confined me but forth I flew with rapid speed a Falcon. 2 Not at his own free pleasure did he bear me: he conquered with his strength and manly courage. Straightway the Bold One left the fiends behind him and passed the winds as he grew yet more mighty. 3 When with loud cry from heaven down sped the Falcon, thence hasting like the wind he bore the Bold One. Then, wildly raging in his mind, the archer Krsanu aimed and loosed the string to strike him. 4 The Falcon bore him from heavens' lofty summit as the swift car of Indras' Friend bore Bhujyu. Then downward hither fell a flying feather of the Bird hasting forward in his journey. 5 And now let Maghavan accept the beaker, white, filled with milk, filled with the shining liquid; The best of sweet meath which the priests have offered: that Indra to his joy may drink, the Hero, that he may take and drink it to his rapture.
a I place thee in the going of the waters; I place thee in the rising of the waters; I place thee in the ashes of the waters; I place thee in the light of the waters; I place thee in the movement of the waters. b Sit on the billows as thy place of rest; sit on the ocean as thy place of rest; sit on the stream as thy place of rest; sit in the abode of the waters; sit on the seat of the waters. c I place thee in the seat of the waters; I place thee in the dwelling of the waters; I place thee in the dust of the waters; I place thee in the womb of the waters; I place thee in the stronghold of the waters. d The metro the Gayatri; the metre the Tristubh; the metro the Jagati; the metre the Anustubh; the metre the Pankti.
iv. 3. 2.
a This one in front the existent; his, the existent s breath; spring born of the breath; the Gayatri born of the spring; from the Gayatri the GayatriSaman(); from the Gayatra the Upansu (cup); from the Upansu the TrivrtStoma(); from the Trivrt the Rathantara; from the RathantaraVasistha, the Rsi; with thee taken by Prajapati, I take breath for offspring. b This one on the right, the all worker; his, the all worker s, mind; summer born of mind; the Tristubh born of summer; from the Tristubh the AidaSaman(); from the Aida the Antaryama (cup); from the Antaryama the fifteenfold Stoma(); from the fifteenfold the Brhat; from the BrhatBharadvaja, the Rsi; with thee taken by Prajapati, I take mind for offspring [1]. c This one behind, the all extending; his, the all extending s, eye; the rains born of the eye; the Jagati born of the rains; from the Jagati the RksamaSaman(); from the Rksama the Sukra (cup); from the Sukra the seventeenfold Stoma(); from the seventeenfold the Vairupa; from the VairupaVisvamitra, the Rsi; with thee taken by Prajapati, I take the eye for my offspring. d This one on the left, the light; his, the light s, ear; the autumn born of the ear; the Anustubh connected with the autumn; from the Anustubh the SvaraSaman(); from the Svara the Manthin (cup); from the Manthin the twenty onefold Stoma(); from the twenty onefold the Vairaja; from the VairajaJamadagni, the Rsi; with thee taken by Prajapati [2], I take the ear for offspring. c This one above, thought; his, thought s, speech; the winter born of speech; the Pankti born of winter; from the Pankti that which has finales; from that which has finales the Agrayana (cup); from the Agrayana the twenty sevenfold and the thirty threefold Stomas(); from the twenty sevenfold and the thirty threefold the Sakvara and Raivata; from the Sakvara and RaivataVisvakarman, the Rsi; with thee taken by Prajapati, I take speech for offspring.
iv. 3. 3.
a The east of the quarters; the spring of the seasons; Agni the deity; holy power the wealth; the Trivrt the Stoma, and it forming the path of the fifteenfold Stoma(); the eighteen month old calf the strength; the Krta of throws of dice; the east wind the wind; Sanaga the Rsi. b The south of the quarters; the summer of the seasons; Indra the deity; the kingly power the wealth; the fifteenfold the Stoma, and it forming the path of the seventeenfold Stoma(); the two year old the strength; the Treta of throws; the south wind the wind; Sanatana, the Rsi. c The west of the quarters; the rains of the seasons; the All gods the deity; the peasants [1] the wealth; the seventeenfold the Stoma, and it forming the path of the twenty onefold Stoma(); the three year old the strength; the Dvapara of throws; the west wind the wind; Ahabuna the Rsi. d The north of the quarters; the autumn of the seasons; Mitra and Varuna the deity; prosperity the wealth; the twenty onefold the Stoma; and it forming a path of the twenty sevenfold Stoma(); the four year old the strength; the Askanda of throws; the north wind the wind; Pratna the Rsi. e The zenith of the quarters; the winter and the cool season of the seasons; Brhaspati the deity; radiance the wealth; the twenty sevenfold the Stoma, and it forming a path of the thirty threefold; the draught ox the strength; the Abhibhu of throws; the wind all through the wind; Suparna the Rsi. f Fathers, grandfathers, near and far, may they protect us, may they help us, in this holy power, this lordly power, this prayer, this Purohita ship, this rite, this invocation of the gods.
iv. 8. 4.
a Firm is thy dwelling, thy place of birth, firm art thou Settle thou duly in thy firm place of birth; Banner of the fire in the pan, May the two Asvins, the leeches, set thee here first in the east. b In thine own skill sit thou whose sire is skill, As the great earth bountiful among the gods, Be of kindly approach and come with thy body, Kindly as a father to his son; May the two Asvins, the leeches, set thee here. c Nesting, rich in wealth, strength bestowing, Increase for us wealth, abundant, rich in heroes [1], Driving away hostility and enmity, Granting the lord of the sacrifice a share in increase of wealth, Do thou bestow the heaven as increase to the sacrificer; May the two Asvins, the leeches, set thee here. d Thou art the dust of Agni, the leader of the gods; May the All gods favour thee as such; With Stomas for thy back, rich in ghee, sit thou here, And win to us by sacrifice riches with offspring. May the two Asvins, the leeches, set thee here! e Thou art the head of sky, the navel of earth, the holder apart of the quarters, the lady paramount of the worlds [2], the wave, the drop of the waters thou art; Visvakarman is thy seer; may the two Asvins, the leeches, set thee here. f In unison with the seasons, in unison with the ordainers, in unison with the Vasus, in unison with the Rudras, in unison with the Adityas, in unison with the All gods, in unison with the gods, in unison with the gods establishing strength, to AgniVaisvanara, thee; may the two Asvins, the leeches, set thee here. g Protect my expiration; protect my inspiration; protect my cross breathing; make my eye to shine widely; make my ear to hear. h Make thick the waters; quicken the plants; protect bipeds; help quadrupeds; from the sky make rain to start.
iv. 3. 5.
a (Thou art) the calf of eighteen months in strength, the Tristubh metre; the two year old in strength, the Viraj metre; the two and a half year old in strength, the Gayatri metre; the three year old in strength, the Usnih metre; the four year old in strength, the Anustubh metre; the draught ox in strength, the Brhati metre; the bull in strength, the Satobrhati metre; the bullock in strength, the Kakubh metre; the milch cow in strength, the Jagatimetre; the beast of burden in strength, the Pankti metre; the goat in strength, the spacious metre; the ram in strength, the slow metre; the tiger in strength, the unassailable metre; the lion in strength, the covering metre; the support in strength, the overlord metre; the lordly power in strength, the delight giving metre; the all creating in strength, the supreme lord metro; the head in strength, the Prajapati metre.
iv. 3. 6.
a O Indra and Agni, do ye two make firm The brick that quaketh not; And let it with its back repel The sky and earth and atmosphere. b Let Visvakarman place thee in the ridge of the atmosphere, encompassing, expanding, resplendent, possessing the sun, thee that dost illumine the sky, the earth, the broad atmosphere, support the atmosphere, make firm the atmosphere, harm not the atmosphere; for every expiration, inspiration, cross breathing, out breathing, support, movement; let Vayu protect thee with great prosperity, with a covering [1] most healing; with that deity do thou sit firm in the manner of Angiras. c Thou art the queen, the eastern quarter; thou art the ruling, the southern quarter; thou art the sovereign, the western quarter; thou art the self ruling, the northern quarter; thou art the lady paramount, the great quarter. d Protect my life; protect my expiration; protect my inspiration; protect my cross breathing; protect my eye; protect my ear; quicken my mind; strengthen my voice; protect my breath; accord me light.
iv. 3. 7.
a (Thou art) Ma metre, Prama metre, Pratima metre, Asrivis metre, Pankti metre, Usnih metre, Brhati metre, Anustubh metre, Viraj metre, Gayatrimetre, Tristubh metre, Jagati metre. (Thou art) earth metre, atmosphere metro, sky metre, seasons metre, Naksatras metre, mind metre, speech metre, ploughing metre, gold metre, cow metre, female goat metre, horse metre. (Thou art) Agni, the deity [1], Vata, the deity, Surya, the deity, Candramas, the deity, the Vasus, the deity, the Rudras, the deity, the Adityas, the deity, the All gods, the deity, the Maruts, the deity, Brhaspati, the deity, Indra, the deity, Varuna, the deity. b The head thou art, ruling; thou art the firm, the supporting; thou art the prop, the restrainer; for food thee; for strength thee; for ploughing thee: for safety thee! (Thou art) the prop, ruling; thou art the firm, the supporting; thou art the holder, the sustainer; for life thee; for radiance thee; for force thee; for might thee!
iv. 3. 8.
(Thou art) the swift, the triple Stoma(); the shining, the fifteenfold the sky, the seventeenfold; speed, the eighteenfold; fervour, the nineteen. fold; attack, the twentyfold; support, the twenty onefold; radiance, the twenty twofold; maintenance, the twenty threefold; the womb, the twenty fourfold; the embryo, the twenty fivefold; might, the twenty sevenfold; inspiration, the thirty onefold; support, the thirty threefold; the surface of the tawny one, the thirty fourfold; the vault, the thirty six fold; the revolving, the forty eightfold; the support, the fourfold Stoma.
iv. 3. 9.
a Thou art the portion of Agni, the overlordship of consecration, the holy power saved, the threefold Stoma. b Thou art the portion of Indra, the overlordship of Visnu, the lordly power saved, the fifteenfold Stoma. c Thou art the portion of them that gaze on men, the overlordship of Dhatr, the birthplace saved, the seventeenfold Stoma. d Thou art the portion of Mitra, the overlordship of Varuna, the rain from the sky, the winds saved, the twenty onefold Stoma. e Thou art the portion of Aditi, the overlordship of Pusan, force saved, the twenty sevenfold Stoma. f Thou art the portion of the Vasus [1], the overlordship of the Rudras, the quadruped saved, the twenty fourfold Stoma. g Thou art the portion of the Adityas, the overlordship of the Maruts, offspring saved, the twenty fivefold Stoma. h Thou art the portion of the god Savitr, the overlordship of Brhaspati, all the quarters saved, the fourfold Stoma. i Thou art the portion of the Yavas, the overlordship of the Ayavas, offspring saved, the forty fourfold Stoma. k Thou art the portion of the Rbhus, the overlordship, of the All gods, being calmed and saved, the thirty threefold Stoma.
iv. 3. 10.
They praised with one, creatures were established, Prajapati was overlord. They praised with three, the holy power: was created, the lord of holy power was overlord. They praised with fire, beings were created, the lord of beings was the overlord. They praised with seven, the seven seers were created, Dhatr was the overlord. They praised with nine, the fathers were created, Aditi was the overlady. They praised with eleven, the seasons were created, the seasonal one was the overlord. They praised with thirteen, the months were created, the year was the overlord [1]. They praised with fifteen, the lordly class was created, Indra was the overlord. They praised with seventeen, cattle were created, Brhaspati was the overlord. They praised with nineteen, the Sudra and the Arya were created, day and night were the overlords. They praised with twenty one, the whole hooved cattle were created, Varuna was the overlord. They praised with twenty three, small cattle were created, Pusan was the overlord. They praised with twenty five, wild cattle were created, Vayu was the overlord. They praised with twenty seven, sky and earth [2] went apart, the Vasus, Rudras, and Adityas followed their example, theirs was the overlordship. They praised with twenty nine, trees were created, Soma was the overlord. They praised with thirty one, creatures were created, the Yavas and the Ayavas had the overlordship. They praised with thirty three, creatures came to rest, Prajapati was the overlord and chief.
iv. 3. 11.
a This is she that first dawned; Within this (earth) she hath entered and moveth; The new made bride as mother beareth the mothers; Threegreatnesses attend her. b Charming, the dawns, adorned, Moving along a common birthplace, Wives of the sun, they move, wise ones, Making a banner of light, unaging, rich in seed. c Three have followed the path of holy order, Three cauldrons have come with the light, Offspring one guardeth, strength one [1], Another the law of the pious guardeth. d The fourth hath become that of four Stomas, Becoming the two wings of the sacrifice, O Rsis; Yoking the Gayatri, Tristubh, Jagati, and Anustubh, the Brhat, The hymn, they have borne forward this heaven. e By five the creator disposed this (world), What time he produced sisters of them, five by five, By their mingling go five strengths Clad in various forms. f Thirty sisters go to the appointed place, Putting on the same badge [2], The sages spread out the seasons, the knowing ones With the metres in their midst, go about in brilliance. g The shining one putteth on clouds, The ways of the sun, the night divine; The beasts of many forms that are born Look around on the lap of their mother. h The Ekastaka, undergoing penance, Hath borne a child, the great Indra; Therewith the gods overpowered the Asuras; Slayer of Asuras he became in his might. i Ye have made me, who am not younger, the younger; Speaking the truth I desire this; May I [3] enjoy his lovingkindness as do ye; May not one of you supplant another. k He hath enjoyed my lovingkindness, the all knower; He hath found a support, for he hath won the shallow; May I enjoy his lovingkindness as do ye May not one of you supplant another. l On the five dawns follow the five milkings, On the cow with five names the five seasons; The five quarters are established by the fifteenfold Stoma(), With equal heads over the one world [4]. M She who first shone forth is the child of holy order; One supporteth the might of the waters; One moveth in the places of the sun, And one in those of the heat; Savitr governeth one. n She who first shone forth Hath become a cow with Yams; Do thou, rich in milk, milk for us Season after season. O She of bright bulls hath come with the cloud, the light, She of all forms, the motley, whose banner is fire; Accomplishing thy common task, Bringing old age, thou hast come, O unaging dawn. P Lady, of seasons the first, she hath come hither, Leading the days, and bearer of offspring; Though one, O Usas, in many places dost thou shine forth Unaging thou dost make to age all else. iv. 3.12. a O Agni, drive away those foes of ours that are born; Drive away those too that are unborn, O all knower; Shine out for us in kindliness and without anger, In thy protection may I be with threefold protection and victorious. b O Agni, drive away those foes of ours that are born with force; Drive away those that are unborn, O all knower; Favour us in kindliness, May we (enjoy thy protection); drive away our foes. c (Thou art) the forty fourfold Stoma, radiance the wealth. d (Thou art) the sixteenfold Stoma, force the wealth. e Thou art the dust of earth [1], called Apsas. f (Thou art) the course metre; the space metre; the health bringing metre; the overpowering metre; the covering metre; the mind metre; the expanse metre; the river metre; the sea metro; the water metre; the uniting metro; the separating metre; the Brhat metro; the Rathantara metre; the collecting metre; the parting metre; the voices metre; the radiant metro; the Sastubh metre; the Anustubh metre; the Kakubh metre; the Trikakubh metre; the poetic metre; the water metre [2]; the Padapankti metre, the Aksarapahkti metre, the Vistarapankti metre: the razor with strop metre; the enveloping metre; the side metre; the course metre; the space metre; the strength metre; the maker of strength metre; the expansive metre; the conflict metre; the covering metre; the difficult of access metre; the slow metre; the Ankanka metre.
iv. 3. 13.
a May Agni slay the foe, Eager for wealth, joyfully, Kindled, pure as offered. b Thou Soma art very lord, Thou art king, and slayer of foes; Thou art favouring strength. c Favouring is thy look, O fair faced Agni, That art dread and extending, pleasant (is it); Thy radiance they cover not with the darkness; The defiling leave no stain in thy body. d Favouring is thy face, O mighty Agni; Even by the side of the sun it is bright [1], Radiant to behold it is seen even by night, Pleasant to the sight is food in thy form. e With his countenance the kindly one Will sacrifice to the gods for us, most skilled to win prosperity by sacrifice; Guardian undeceived and protector of us, O Agni, shine forth with radiance and with wealth. f Prosperity for us from sky, O Agni, from earth, With full life do thou procure, O god, for worship; That splendid thing, O sky born, which we ask, Do thou bestow upon us that radiant wealth. g As thou, O Hotr, in man s worship [2], O son of strength, shalt sacrifice with offerings, Verily do thou to day, gladly, offer sacrifice To the glad gods together assembled. h I praise Agni, domestic priest, God of the sacrifice and priest, The Hotr, best bestower of jewels. i Thou art strong, O Soma, and bright, Thou art strong, O god, and strong thy rule, Strong laws dost thou establish. k O Maruts, that burn, this offering (is yours) Do ye rejoice in it, For your aid, ye destroyers of the foe. I The man of evil heart, O bright ones, O Maruts, Who is fain to smite us contrary to right [3], In the noose of destruction may he be caught, Slay him with your most burning heat. m The Maruts, of the year, fair singers, With wide abodes, in troops among men, May they from us unloosen the bonds of tribulation, Those that burn, delighting, granting delight, n Delight the eager gods, O thou most young, Knowing the seasons, O lord of the season, do thou sacrifice here; With the priests divine, O Agni, Thou art the best sacrificer of Hotrs. o O Agni, whatever to day, O offering Hotr of the people, O pure [4] and radiant one, thou dost enjoy, for thou art the sacrificer, Rightly shalt thou sacrifice, since thou hast grown in might, Carry the oblations that are thine to day, O thou most young. p By Agni may one win wealth And abundance, day by day, Glory full of heroes. q Enricher, slayer of disease, Wealth finder, prospering prosperity, O Soma, be a good friend to us. r Come hither, O ye that tend the house, Depart not, O Maruts, Freeing us from tribulation. s For in autumns gone by We have paid worship, O Maruts, With the means [5] of mortal men. t Your greatness surgeth forth from the depths, Make known your names, O active ones; O Maruts, accept the thousandth share of the house, Of the householder s offering. u Him to whom, the strong, the youthful maiden, Rich in oblation, bearing ghee, approacheth night and morning, To him his own devotion (approacheth) seeking wealth. v O Agni, these most acceptable oblations, Immortal one, bear for the divine worship; Let them accept our fragrant (offerings). w The playful horde of the Maruts, Sporting, resplendent on the chariot [6], O Kanvas, do ye celebrate. x The Maruts, speeding like steeds, Disport themselves like youths gazing at a spectacle, Standing in the home like beauteous younglings, Bestowing milk, like playful calves. y At their advance the earth moves as if trembling, When they yoke (their teams) for their journeys, for brilliance; Playing, resounding, with flaming weapons, They display their own greatness, the shakers. z What time on the steeps ye pile the moving one, Like birds, O Maruts, on whatever path [7], The clouds spill their water on your chariots; Do ye sprinkle for the praiser ghee of honey hue. aa Agni with invocations They ever invoke, lord of the people, Bearer of the oblation, dear to many. bb For him they ever praise, The god with ladle dripping ghee, Agni to bear the oblation. cc O Indra and Agni, the spaces of sky. dd Pierce Vrtra. ee Indra from all sides. ff Indra men. gg O Visvakarman, waxing great with the oblation. hh O Visvakarman, with the oblation as strengthening.
Contributions to the Interpretation of the Veda Maurice Bloomfield in: Journal of the American Oriental Society Vol. 16 (1896), pp. 1-42 Published by:American Oriental Society DOI: 10.2307/592485 Stable URL: http://www.jstor.org/stable/592485
Candi Sukuh. Anthropomorph Garuda, elephant, turtle (association with samudra manthanam kassa 'turtle' rebus: kãsā 'bell-metal' kamaṭha 'turtle' rebus: கமடம், [ *kamaṭam, ] s. A turtle, a tortoise, ஆமை (Winslow Tamil lexicon) కమఠము [ kamaṭhamu ] kamaṭhamu. [Skt.] n. A tortoise. kãsā kammaṭa 'bell-metal coiner, mint, portable furnace' Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236) கம்பட்டக்காரன் kampaṭṭa-k-kāraṉ, n. < கம்பட்டம் +. Coiner; நாணயம்செய்வோன். (W.)கம்பட்டக்கூடம் kampaṭṭa-k-kūṭam, n. < id. +. Mint; நாணயசாலை. (W.)கம்பட்டம் kampaṭṭam, n. [K. kammaṭa, M. kammṭṭam.] Coinage, coin; நாணயம். (W.) கம்பட்டமுளை kampaṭṭa-muḷai, n. < id. +. Die, coining stamp; நாணயமுத்திரை. (W.).and karibha, ibha 'elephant' rebus: karba, ib 'iron').
Garuda brings Soma,amrtaghata, from heaven. Java, Indonesia.
सु--पर्ण m. any large bird of prey (as a vulture , eagle ; also applicable to the sun or moon as " having beautiful rays " , and to सोम and clouds ; du. " sun and moon ")(RV); m. any mythical or supernatural bird (often identified with गरुड , and sometimes personified as a ऋषि , a देव-गन्धर्व , and an असुर) RV. TS. Ka1t2h. MBh.; m.N. of one of the seven tongues of fire Gr2ihya1s; m.N. of the mother of गरुड or of the प्राजापत्य आरुणि सुपर्णेय BhP. Na1rUp.सु-पर्णी f. a partic. personification (mentioned together with कद्रू , sometimes identified with वाच् and regarded as the mother of metres) TS. Ka1t2h. S3Br. (Monier-Williams) सुपर्णa. (-र्णा or -र्णीf.) 1 well-winged; तं भूतनिलयं देवं सुपर्णमुपधावत Bhāg.8.1.11. -2 having good or beautiful leaves. (-र्णः) 1 a ray of the sun. -2 a class of bird-like beings of a semi-divine character. -3 any supernatural bird. -4 an epithet of Garuḍa; ततः सुपर्णव्रजपक्षजन्मा नानागतिर्मण्डलयन् जवेन Ki.16.44. -5 a cock. -6 the knowing (ज्ञानरूप); देहस्त्वचित्पुरुषोऽयं सुपर्णः क्रुध्येत कस्मै नहि कर्ममूलम् Bhāg.11.23.55. -7 Any bird; द्वा सुपर्णा सयुजा सखाया समानं वृक्षं परिषस्वजाते Muṇd. 3.1.1. ˚केतुः N. of Viṣṇu; तमकुण्ठमुखाः सुपर्णकेतोरिषवः क्षिप्तमिषुव्रजं परेण Śi.20.23. -पर्णकः = सुपर्ण. -पर्णा, -पर्णीf. 1 a number of lotuses. -2 a pool abounding in lotuses. -3 N. of the mother of Garuḍa.सौपर्णम् sauparṇam
Relating to सुपर्ण bird or Garuḍa; सौपर्णमस्त्रं प्रतिसंजहार R.16.80.(Apte)
सौपर्ण n. the सौपर्ण hymn (cf.RV. i , 164 , 20 andIW. 39 ; a Vedic story relating the transformation of the metres into birds that they might fetch the सोम from , heaven) Br. Gr2S3rS.; mf(ई)n. or सौपर्ण्/अ relating or belonging to or derived from or treating of or resembling the bird सु-पर्ण (q.v.) AV. (Monier-Williams)
12th-century Garuda with Vishnu Lakshmi, Indra and Indrani on elephant, Vishnu on Garuda at Shaivism Hindu temple Hoysaleswara arts Halebidu Karnataka India
Garuda, second half of the 8th–early 9th century, Pandyas, Source: Met Museum.
As protector of the universe, restoring order whenever the world falls out of balance, Vishnu is ready at a moment’s notice to descend from heaven to earth. In this stele, made for a subsidiary shrine on the wall of a temple, Vishnu sits on his divine mount, Garuda, who is part bird and part man. Vishnu carries a club and discus, weapons he uses to protect cosmic order; a conch shell, whose sound frightens enemies and drives away ignorance; and a small lotus, a symbol of purity and renewal. Near the base, two goddesses associated with Vishnu stand to either side: Lakshmi, goddess of wealth (holding a flywhisk), and Sarasvati, goddess of learning and the arts (holding the vina, a stringed instrument). Above Vishnu, a protective "kirtimukha" face looks outward, safeguarding the temple to which this sculpture once belonged. On the base, kneeling devotees look toward Vishnu, folding their hands in veneration. Mounds of grain offerings are piled behind them; their inclusion in the stele's imagery suggests some of the devotional practices current in northeastern India during the 11th century.
Bas-relief depicting Vishnu on Garuda fighting against the asuras on the outer gallery of Angkor Wat Temple. Siem Reap. Cambodia.
Bas relief carving of Garuda at the feet of Vishnu, Badami cave 3 (photo from internet)Garuda, Soumyakeshava temple,Photo by: Jay ShankarGaruda fighting the Nagas, Halebeedu, Photo by: Jay ShankarGaruda carrying Vishnu on two sides of the center panel showing Indra riding his elephant, Halebeedu, Photo by: Jay ShankarBindiganavile (Karnataka),Photo by: Jay ShankarPatan Rakta varna Mahavihara.Photo by: Jay ShankarGaruda, Patan Museum, Photo by: Jay ShankarTusha hiti, PatanPhoto by: Jay ShankarGaruda at Durbar square in Kathmandu, Nepal. Photo from Wikipedia
Garuda is a popular figure not only in India, but is also highly revered in Nepal, Myanmar, Thailand, Cambodia and Indonesia. The Indonesian official coat of arms has the Garuda in it and the national emblem of Indonesia is known as Garuda Pancasila. The Indian Air Force also has the Garuda in their coat of arms, and their special operations unit is known as Garud Commando Force.
Garuda in Chennakeshava temple at Belur (wikipedia)Garuda on the top lintel of the doorway leading to the antarala in Teli ka Mandir, Gwalior fort, 8th c. CEGaruda as a column head of a Garudadhvaja, 11th c. CE – Jalghata Kachery – West Bengal ~ Indian Museum, Kolkata (Wikipedia)Garuda carrying Vishnu, 15th c. CE , Rajasthan, National Museum (Delhi)Garuda on four corners of the dome of the vimana of the Vaikuntha Perumal Temple, KanchipuramGaruda on the mandapa roof corner of Varadharaja Perumal Temple in Kanchipuram,Garuda flanked by his consorts Rudra and Sukirthi, Nuggehalli Lakshmi Narasimha temple, 1246 CE, Hoysala. photo credits: Jay ShankarWinged Garuda in human form, Pratihara, 10th c. CE, Pallu (Rajasthan ~ National Museum Delhi)Garuda with snakes, Pratihara, 10th c. CE, Pallu (Rajasthan ~ National Museum DelhiGaruda on the inner side of the middle architrave of the eastern gateway of Sanchi (1st c. BCE)Garuda with a three hooded Naga on a torana beam from a site in Mathura, plate XXV- chapter VIII), panel sketch by Vincent Smith, 1901In Gandhara art Garuda appears as a large eagle with earrings and wings, often carrying a naga and a nagini in his beak or with his long talons. As per the Vedanta Desika’s Garuda Panchashath and Garuda Dandaka, “Garuda wears the serpent Adisesha on his left wrist and the serpant Gulika on his right wrist. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair.”Silparatna and Sritatvanidhi describe Garuda as two armed, but Silparatna also gives a description of Garutman as 8 armed, holding gada, sankha, chakra, sword, kamandala, a snake, and the feet of Vasudeva-Vishnu should be resting on his two front hands. Silparatna names two armed Garuda as Tarksya. According to Visnudharmottara, Garuda should be emerald in colour, with two powerful lustrous wings that are yellow in colour, four arms, a pot belly, two round eyes; and the beak, chest, knees, and legs must look like that of a kite. His two back hands should be carrying a pot of nectar and an umbrella, while his front hands should be in anjali mudra. When carrying Vishnu Garuda should be depicted as bejeweled and pot-bellied, and supporting his master’s legs instead of carrying the pot and umbrella. While Silparatna depicts only the 8 armed Garuda as carrying a snake, the Sritatvanidhi says that Garuda is the holder of a snake hood (phaniphanabhrt) and his head is adorned with snakes (phanimanditah). The epics and the Puranas also lay stress on his association with snakes. Sritatvanidhi also gives another description where it says Garuda should be shown kneeling on his left knee and wearing a crown of snakes. His face and body should be that of a human being, but his nose should be pointed and raised like a beak. He should be two armed which must be held in an anjali posture.
Relief depicting a portable Garuda pillar, Bharhut, 100 BCE (Wikipedia)
In early Indian art, Garuda is shown as a huge parrot like bird, as seen in the architrave of the eastern gateway of Sanchi. In front of this parrot like Garuda (with earrings and a bushy tuft) is a five headed snake, the Naga (identified by Grunwedel).
The Suparṇākhyāna, also known as the Suparṇādhyāya (meaning "Chapter of the Bird"), is a short epic poem or cycle of ballads in Sanskrit about the divine bird Garuda, believed to date from the late Vedic period. Considered to be among the "earliest traces of epic poetry in India," the text only survives "in very bad condition,"[3] and remains "little studied."
The subject of the poem is "the legend ofKadrū, the snake-mother, andVinatā, the bird-mother, and enmity betweenGarudaand the snakes."It relates the birth of Garuda and his elder brotherAruṇa; Kadru and Vinata's wager about the color of the tail of the divine white horseUchchaihshravas; Garuda's efforts to obtain freedom for himself and his mother; and his theft of the divinesomafromIndra, whose thunderbolt is unable to stop Garuda, but merely causes him to drop a feather.It was the basis for the later, expanded version of the story, which appears in theĀstīka Parva, within theĀdi Parvaof theMahābhārata.
Shout, thunder, reach the clouds; these waters of thine shall be level with the mountain-tops... Undefined, wholly water, the shore shall be: the frog-female shall croak all the night. (The winds) shall milk the cloud (cow) whose trail drips with milk, the wild beast shall come seeking firm land.
Heliodorus pillar, a Garudadhvaja erected around 113 BCE Gold coin of king Samudragupta (335-375 CE). In many of the gold coins of the Imperial Guptas, Garuda appears as a plump bird with outstretched wings perched as the capital piece of a Garudadhvaja. On the silver coins of Chandragupta II Garuda is seen facing with outstretched wings of a full fledged bird; but on some his copper coins Garuda is shown with outstretched wings and long human arms wearing bracelets; while on few others Garuda is shown with wings, without the human arms, and with a snake in his mouth. On an inscribed terracotta seal of Kumaragupta I the plump bird stands facing a pedestal and the face is that of a human. 5th-century Gupta-era coin (Skandagupta Kramaditya Circa 455-467 CE), Garuda with snakes in his clawshttps://monidipa.net/2020/01/16/garuda-the-vahana-of-vishnu/
Mason's marks in Kharoshti point to craftsmen from the north-west (region of Gandhara) for the earliest reliefs at Sanchi, circa 115 BCE.
Why are dwarfs shown on Begram ivories, Bharhut, Sanchi, Mathura sculptures and stone reliefs? The reason is the Indian sprachbund gloss: kharva which means 'dwarf'. The rebus-metonymy-layered rendering reads: kharva 'a navanidhi, a treasure, wealth' (one of nine nidhis or nine treasures of Kubera). karba, ib 'iron'. The dwarf image is also used to denote gaNa of Siva or Rudra.
खर्व (-र्ब) a. [खर्व्-अच्] 1 Mutilated, crippled, imperfect; Yv. Ts.2.5.1.7. -2 Dwarfish, low, short in stature. -र्वः, -र्वम् A large number (1,,,). -3 N. of one of the treasures of Kubera. -Comp. -इतर a. not small, great; प्रमुदितहृदः सर्वे खर्वेतरस्मयसंगताः Śiva. B.22.71. -शाख a. dwarfish, small, short.खर्वित kharvita खर्वित a. (anything) That has become dwarfish; निशुम्भभरनम्रोर्वीखर्विताः पर्वता अपि Ks.51.1.
खार्वा khārvā The Tretā age or second Yuga of the world. (Samskritam)
Rebus: खर्वटः kharvaṭḥ टम् ṭam खर्वटः टम् [खर्व्-अटन्]1A market-town.-2A village at the foot of a mountain; this word generally occurs joined with खेट; Bhāg.1.6.11;4.18.31;7.2.14; धनुःशतं परीणाहो ग्रामे क्षेत्रान्तरं भवेत् । द्वे शते खर्वटस्य स्यान्नगरस्य चतुःशतम् ॥ Y.2.167. Mitākṣarā says खर्वटस्य प्रचुरकण्टक- सन्तानस्य ग्रामस्य खर्वटानि कुनगराणि । (प्रश्नव्याकरणसूत्रव्याख्याने).-3A mixed locality on the bank of river, partly a village and partly a town (according to the text of Bhṛigu, quoted in Shrīdharasvāmin's commentary on the Bhāg.); cf. Rājadharmakaustubha, G. O. S.72, p.13.-4A principal village among two hundred ones (Dānasāgara, Bibliotheca Indica 274, Fasc. I, p.145); cf. also दण्डविवेक, G. O. S.52, p.277.
Hieroglyph: gaNa, 'dwarf' Rebus: gaNa is a guild. Accoding to NaighaNTu, gaNa is speech, Mleccha, Meluhha speech as distinct from chandas, prosody: m.=वाच् (i.e. " a series of verses ") Naigh. i , 11
Sculptural frieze. stūpa of Sanchi, second half of 2nd century BCE (Kramrisch,1954, pic13) Sanchi. Winged composite animal: tiger, eagle. The last two letters to the right of this inscription in Brahmi form the word "danam" (donation). This hypothesis permitted the decipherment of the Brahmi script by James Prinsep in 1837. The Indus Script hypertext of the composite animal:
Hierogoyph: hawk: śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala) Hieroglyph: wings: *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ] S. khambhu, °bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) Hieroglyph: tiger, feline paw: kola 'tiger' rebus: kol 'working in iron' PLUS panja 'feline paw' rebus: panja'kiln, furnace, smelter'. Thus, the hypertext reads: kol panja sena kammaṭa'iron smelter thunderbolt mint.
Miraculous crossing of the Ganges by the Buddha when he left Rajagriha to visit Vaisali (partial remain). (John Marshall, A Guide to Sanchi, p. 38. Calcutta: Superintendent, Government Printing (1918), p.73).
Hieroglyph: pericarp of lotus: kárṇikā f. ʻ round protuberance ʼ Suśr., ʻ pericarp of a lotus ʼ MBh., ʻ ear -- ring ʼ Kathās. [kárṇa -- ] Pa. kaṇṇikā -- f. ʻ ear ornament, pericarp of lotus, corner of upper story, sheaf in form of a pinnacle ʼ; Pk. kaṇṇiā -- f. ʻ corner, pericarp of lotus ʼ; Paš. kanīˊ ʻ corner ʼ; S. kanī f. ʻ border ʼ, L. P. kannī f. (→ H. kannī f.); WPah. bhal. kanni f. ʻ yarn used for the border of cloth in weaving ʼ; B. kāṇī ʻ ornamental swelling out in a vessel ʼ, Or. kānī ʻ corner of a cloth ʼ; H. kaniyã̄ f. ʻ lap ʼ; G. kānī f. ʻ border of a garment tucked up ʼ; M. kānī f. ʻ loop of a tie -- rope ʼ; Si. käni, kän ʻ sheaf in the form of a pinnacle, housetop ʼ.(CDIAL 2849) rebus: supercargo: kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ]Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ. (CDIAL 3058) Helmsman: कर्णिक m. a steersman W.; having a helm (Monier-Williams)
Hierogoyph: hawk: śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala)
Stone palette. Tokyo National Museum. Called Female Triton. Triton (/ˈtraɪtən/; Greek: ΤρίτωνTritōn) is a Greek god of the sea, the son of Poseidon and Amphitrite, god and goddess of the sea respectively. Triton lived with his parents, in a golden palace on the bottom of the sea. Later he was often depicted as having a conch shell he would blow like a trumpet.
Triton is usually represented as a merman, with the upper body of a human and the tailed lower body of a fish. At some time during the Greek and Roman era, Triton(s) became a generic term for a merman (mermen) in art and literature. In English literature, Triton is portrayed as the messenger or herald for the god Poseidon.
Gold armband with Triton holding a putto, Greek, 200 BC, Metropolitan Museum of Art. A putto (Italian: [ˈputto]; plural putti[ˈputti]) is a figure in a work of art depicted as a chubby male child, usually naked and sometimes winged. Originally limited to profane passions in symbolism,[2] the putto came to represent the sacredcherub (plural cherubim),[3] and in Baroque art the putto came to represent the omnipresence of God.
On Gandharan stone Greek palettes (toilet trays),lion and zebu are shown as friendly animals.
Around 115 BC, the embassy of Heliodorus from king Antialkidas to the court of the Sungas king Bhagabhadra in Vidisha is recorded. In the Sunga capital, Heliodorus established the Heliodorus pillar in a dedication to Vāsudeva. This would indicate that relations between the Indo-Greeks and the Sungas had improved by that time, that people traveled between the two realms, and also that the Indo-Greeks readily followed Indian religions.[5]
Also around the same time, circa 115 BC, it is known that architectural decorations such as decorative reliefs started to be introduced at nearby Sanchi, 6 km away from Vidisha, by craftsmen from the area of Gandhara, a central Indo-Greek region. Typically, the earliest medallions at Sanchi Stupa No.2 are dated to 115 BC, while the more extensive pillar carvings are dated to 80 BC.(Buddhist Landscapes in Central India: Sanchi Hill and Archaeologies of Religious and Social Change, C. Third Century BC to Fifth Century AD, by Julia Shaw, Left Coast Press, 2013 p.90)These early decorative reliefs were apparently the work of craftsmen from the northwest (around the area of Gandhara), since they left mason's marks in Kharoshthi, as opposed to the local Brahmi script. This seems to imply that these foreign workers were responsible for some of the earliest motifs and figures that can be found on the railings of the stupa.(Buddhist Architecture Huu Phuoc Le Grafikol, 2010 p.161)https://en.wikipedia.org/wiki/Greco-Buddhist_art
Sena. Sanchi.
At Bharhut, the gateways were made by northern (probably Gandharan) masons using Kharosthi marks, while the railings were made by masons exclusively using marks in the local Brahmi script. 150-100 BCE Craftsmen from the Gandhara area, a central region of the Indo-Greek realm, are known to have been involved in the construction of the gateways at Bharhut, which are dated to 100-75 BCE; this is because mason's marks in Kharosthi have been found on several elements of the Bharhut remains, indicating that some of the builders at least came from the north, particularly from Gandhara where the Kharoshti script was in use.
Indian relief of probable Indo-Greek guard/warrior, with fish-fin symbol on his sword and grape vine on his right hand. Bharhut, 2nd century BC. Indian Museum, Calcutta. These are Indus Script hieroglyphs:
The ligatured pair of fish-fins is above a dotted circle. A dotted circle signifies
dhāvaḍ 'smelter'; see: dhāv 'mineral' vaḍ 'circle' rebus dhāvaḍ 'smelter' Caduceus, śúlba 'string' rebus शुल्बम् 'copper' on kārṣāpaṇa & other symbols of ancient India coins are Indus Script hieroglyphs to signify metals wealth-accounting ledgers,mintwork catalogues of آهن ګر āhangar 'blacksmith'
Hieroglyph: sword: *khaṇḍaka3ʻ sword ʼ. [Perh. of same non -- Aryan origin as khaḍgá -- 2]Pk. khaṁḍa -- m. ʻ sword ʼ (→ Tam.kaṇṭam), Gy. SEeur. xai̦o, eur. xanro, xarno, xanlo, wel. xenlī f., S. khano m., P. khaṇḍā m., Ku. gng. khã̄ṛ, N. khã̄ṛo, khũṛo (X churi < kṣurá -- ); A. khāṇḍāʻ heavy knife ʼ; B.khã̄rāʻ large sacrificial knife ʼ; Or.khaṇḍāʻ sword ʼ, H.khã̄ṛā, G. khã̄ḍũ n., M. khã̄ḍā m., Si. kaḍuva.(CDIAL 3793).
med 'copper' (Slavic languages); mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)meḍ 'iron' (Mundari.Remo); muṇḍa मुण्ड 'iron' mṛdu मृदु 'a kind of iron; -कार्ष्णायसम्, -कृष्णायसम् soft-iron, lead. '(Apte.Samskrtam) A rebus rendering for this ancient form is: मृद्वी f. a vine with red grapes L. (cf. मृद्वीका). This rebus Meluhha representation is evidenced in a stunning Bharhut sculpture ca. 3rd cent. BCE of a Greek soldier holding a broad-sword with Indus Script hypertext and grapevine hieroglyph.
Greek soldier is an iron smelter, an artificer in a laterite, ferrite ore sword, metal casting mint. मृदु mṛdu khaṇḍaka kammaṭi 'iron, laterite, sword mint'. Thus, Bharhut was a metals armoury,mint town with metalwork artificers and blacksmiths..
Bharhut Yavana, Greek soldier of Bharhut; did the Yavana soldier sculpted by the śilpin, 'sculptor' speak Meluhha?
The Greek soldier carries a grapevine on his right hand as a signifier of his professional competence: मृद्वी (p. 126) mridu̮î mridu: -kâ,f. vine; grape. Rebus: मृद्वी f. a vine with red grapes L. (cf. मृद्वीका) मृद्वी मृद्वीका mṛdvī mṛdvīkā मृद्वी मृद्वीका A vine or bunch of grapes; वाचं तदीयां परिपीय मृद्वीं मृद्वीकया तुल्यरसां स हंसः N.3.6; मृद्वीका रसिता सिता समशिता... Bv.4.13,37; Mb.7.64.7.rebus: मृदु mṛduA kind of iron. (Apte)
The broad sword held on his leftr hand has an Indus Script Hypertext: Fish-fin pair atop a round pebble. The hypertext Meluhha readings are: khambhaṛā'fish-fin' rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236) PLUS dula 'two' rebus: dul 'metal casting'.
Garland Holder with a Winged Celestial mid-1st century
Such volutes were affixed to the drums of small stupas to support garlands of flowers. These auspicious figures are among the earliest forms of sculptural embellishment found at Gandharan Buddhist sites. https://www.metmuseum.org/art/collection/search/38100
The goddess Hariti is shown nursing a child and sitting on a throne flanked by lotuses and surmounted by auspicious geese (hamsa), the Buddha’s messengers. Stylistically this roundel can be related to first-century finds from the Taxila city of Sirkap, a dating that would make it one of the earliest known representations of Hariti. Buddhist texts tell us that Hariti originally stole and devoured children, but with the Buddha’s intervention she became their protector.https://www.metmuseum.org/art/collection/search/38221
The term atlantes is the Greek plural of the name Atlas—the Titan who was forced to hold the sky on his shoulders for eternity.
2nd-3rd century CE. A carved schist figure of Atlas crouching with wings partly spread, both hands clasped about his raised right knee; mounted on a custom-made stand. Cf. Jongeward, D., Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018, item 149; see Stanco, L., Greek Gods in the East: Hellenistic Iconographic Schemes in Central Asia, Prague, 2012; Nagar, S., Gandharan Sculpture: A Catalogue of the Collection in the Museum of Art and Archaeology, University of Missouri-Columbia, 1981.17.3 kg total, 45cm including stand (17 3/4"). Property of a London collector, acquired early 1990s. The Atlas motif is among a range of imports from Greek and Persian art - caryatids, Ionic columns, drinking scenes, vines, acanthus leaves, Olympian gods and Dionysian revelries - which give Gandharan sculpture its unique flavour. The figure is derived from representation of the Greek myth of Atlas, whose task it was to uphold the sky; his thickset frame and stocky limbs indicate his ability to support any burden. Many examples of the Atlas figure are modelled with hands raised, or with a flattened upper surface to the head where an architectural feature was placed above, but in the present case the figure appears to be resting; it also does not sport the wings found on may other examples.
The nation must restore order. The military stands ready.
By Tom Cotton
Mr. Cotton, a Republican, is a United States senator from Arkansas.
·
U.S. Senator Tom Cotton calls for “an overwhelming show of force.”Credit...Pool photo by Andrew Harnik
[Our editorial page editor James Bennet expanded on the decision to publish this Op-Ed in his newsletter today.]
This week, rioters have plunged many American cities into anarchy, recalling the widespread violence of the 1960s.
New York City suffered the worst of the riots Monday night, as Mayor Bill de Blasio stood by while Midtown Manhattan descended into lawlessness. Bands of looters roved the streets, smashing and emptying hundreds of businesses. Some even drove exotic cars; the riots were carnivals for the thrill-seeking rich as well as other criminal elements.
Outnumbered police officers, encumbered by feckless politicians, bore the brunt of the violence. In New York State, rioters ran over officers with cars on at least three occasions. In Las Vegas, an officer is in “grave” condition after being shot in the head by a rioter. In St. Louis, four police officers were shot as they attempted to disperse a mob throwing bricks and dumping gasoline; in a separate incident, a 77-year-old retired police captain was shot to death as he tried to stop looters from ransacking a pawnshop. This is “somebody’s granddaddy,” a bystander screamed at the scene.
Some elites have excused this orgy of violence in the spirit of radical chic, calling it an understandable response to the wrongful death of George Floyd. Those excuses are built on a revolting moral equivalence of rioters and looters to peaceful, law-abiding protesters. A majority who seek to protest peacefully shouldn’t be confused with bands of miscreants.
But the rioting has nothing to do with George Floyd, whose bereaved relatives have condemned violence. On the contrary, nihilist criminals are simply out for loot and the thrill of destruction, with cadres of left-wing radicals like antifa infiltrating protest marches to exploit Floyd’s death for their own anarchic purposes.
These rioters, if not subdued, not only will destroy the livelihoods of law-abiding citizens but will also take more innocent lives. Many poor communities that still bear scars from past upheavals will be set back still further.
One thing above all else will restore order to our streets: an overwhelming show of force to disperse, detain and ultimately deter lawbreakers. But local law enforcement in some cities desperately needs backup, while delusional politicians in other cities refuse to do what’s necessary to uphold the rule of law.
The White House, June 1.Credit...Jonathan Ernst/Reuters
The pace of looting and disorder may fluctuate from night to night, but it’s past time to support local law enforcement with federal authority. Some governors have mobilized the National Guard, yet others refuse, and in some cases the rioters still outnumber the police and Guard combined. In these circumstances, the Insurrection Act authorizes the president to employ the military “or any other means” in “cases of insurrection, or obstruction to the laws.”
This venerable law, nearly as old as our republic itself, doesn’t amount to “martial law” or the end of democracy, as some excitable critics, ignorant of both the law and our history, have comically suggested. In fact, the federal government has a constitutional duty to the states to “protect each of them from domestic violence.” Throughout our history, presidents have exercised this authority on dozens of occasions to protect law-abiding citizens from disorder. Nor does it violate the Posse Comitatus Act, which constrains the military’s role in law enforcement but expressly excepts statutes such as the Insurrection Act.
After thousands of whites rioted in Oxford, Miss., in 1962 to prevent integration of the University of Mississippi, President John Kennedy sent U.S. troops to quell the violence.Credit...Donald Uhrbrock/The LIFE Images Collection, via Getty Images
Anti-integration protesters at the University of Mississippi awaiting the arrival of the first African-American student, James Meredith.Credit...Getty Images
For instance, during the 1950s and 1960s, Presidents Dwight Eisenhower, John Kennedy and Lyndon Johnson called out the military to disperse mobs that prevented school desegregation or threatened innocent lives and property. This happened in my own state. Gov. Orval Faubus, a racist Democrat, mobilized our National Guard in 1957 to obstruct desegregation at Little Rock Central High School. President Eisenhower federalized the Guard and called in the 101st Airborne in response. The failure to do so, he said, “would be tantamount to acquiescence in anarchy.”
More recently, President George H.W. Bush ordered the Army’s Seventh Infantry and 1,500 Marines to protect Los Angeles during race riots in 1992. He acknowledged his disgust at Rodney King’s treatment — “what I saw made me sick” — but he knew deadly rioting would only multiply the victims, of all races and from all walks of life.
Not surprisingly, public opinion is on the side of law enforcement and law and order, not insurrectionists. According to a recent poll, 58 percent of registered voters, including nearly half of Democrats and 37 percent of African-Americans, would support cities’ calling in the military to “address protests and demonstrations” that are in “response to the death of George Floyd.” That opinion may not appear often in chic salons, but widespread support for it is fact nonetheless.
The American people aren’t blind to injustices in our society, but they know that the most basic responsibility of government is to maintain public order and safety. In normal times, local law enforcement can uphold public order. But in rare moments, like ours today, more is needed, even if many politicians prefer to wring their hands while the country burns.
Tom Cotton (@sentomcotton) is a Republican senator from Arkansas
https://tinyurl.com/yc5ky9hw khoNDa 'young bull' singhin 'forward-thrusting, spiny-horned' rebus: singi 'ornament gold'खोंडी 'pannier sack' rebus: कोंद kōnda 'engraver, fire-altar'. koDiyum 'rings on neck' (Gujarati) కోడె kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull. Rebus: koD 'workshop, artisans' workplace' (Kuwi). koNDa, agnikuNDa 'fiery pit of live coals'. kondar, kundar 'turner'. So, koNDa singi 'ornament gold fire-altar turner' (Meluhha) The turner who works in ornament gold and kunda 'fine gold' sets the Gold Standard differentiating between 24 carat and 22 carat gold. On Lydian electrum coin 6th cent.BCE the lion is shown in opposition: சிங்கச்சுவணம் ciṅka-c-cuvaṇam , n. prob. siṃhala + svarṇa. A kind of superior gold; ஒருவகை உயர்தரப் பொன். தீதுதீர் சிறப்பிற் சிங்கச் சுவணமென் றோசைபோகிய வொண்பொன் (பெருங். வத்தவ. 11, 23). Thus, a kind of superior gold from Sri Lanka is posited in opposition to ornament and fine gold signified by the 'unicorn' which is singhin khoNDa, forward-thrusting, spiny-horne young bull. Explains why Ishtar Gate shows winged 'unicorn' and 'lion' exquisite images. Explains why Mari procession celebrates the 'unicorn' hoisted on a flagsatff of holcus sorghum or jowar khuṇḍī 'variety of holcus sorghum'खुंडी khuṇḍī f A cloth doubled over and sewn at one end, forming a घोंगता, खोपा, or खोळ (an open or outspread shovel-form sack). Used in exposing grain in the market. 2 A species or variety of जोंधळा -- which is a semantic determinative for khoNDa'young bull' hieroglyph. The culm of millet which is the flagstaff is karba rebus: karb, ib 'iron'. Indus Script has been deciphered. kalyan97@gmail.com Email me, I will send copies of ebooks which decipher over 8000 inscriptions of Indus Script.
Gold Pendant. Harappa. National Museum, New Delhi is like the 'heart' hieroglph shown on the belly of one-horned young bull or 'unicorn'
Sun's rays arka 'sun, rays of sun' rebus: arka 'copper, gold' eraka 'moltencast, metal infusion'. The rays are cAl 'furrow lines' rebus: sala 'workshop. Thus, the hieroglyph signifies arkasala 'goldsmith workshop'
Orthography of the young bull clearly shows the 'womb' symbol with sun’s rays on the belly of the bovine.
overflowing pot lo 'pot to overflow' kāṇḍa 'water' rebus: लोखंड lōkhaṇḍa n (लोह S) Iron. लोखंडाचे चणे खावविणें or चारणें To oppress grievously. लोखंडकाम lōkhaṇḍakāma n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith. लोखंडी lōkhaṇḍī a (लोखंड) Composed of iron; relating to iron. 2 fig. Hardy or hard—a constitution or a frame of body, one's हाड or natal bone or parental stock. 3 Close and hard;—used of kinds of wood. 4 Ardent and unyielding—a fever. 5 लोखंडी, in the sense Hard and coarse or in the sense Strong or enduring, is freely applied as a term of distinction or designation. Examples follow.लोखंडी lōkhaṇḍī f (लोखंड) An iron boiler or other vessel. Thus, the gold pendant with 'unicorn' hieroglyph and overflowing pot hieroglyph signifies iron metalworker. Of course, kAr 'ear' PLUS khoNDa 'young bull' rebus: کار کنده kār-kunda, artificer, manager (Pashto).
-- Field symbols: kola 'tiger' kol 'alloy' + dhol, 'drummer' dul 'metal casting'
-- Five svastika: taṭṭal sattva Rebus:zinc (for) brass (or pewter).
--Text message: karã̄ n. pl. wristlets, banglesRebus: khãr 'blacksmith, iron worker' PLUS karaṭa- a kind of drum.(DEDR 1264) Rebus: करडा karaḍāHard from alloy—iron, silver &c. PLUS karNaka 'rim of jar' rebus: karNaka 'scribe, helmsman, supercargo'
Svastika glyph: sattva 'svastika' glyph సత్తుతపెల a vessel made of pewter
त्रपुधातुविशेषनिर्मितम्
Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथ्त्रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ्ज़स््थ््or zasuth ज़सुथ्।रप m. (sg. dat. zastas ुज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; ।त्रपूद्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri).
The cognate word satuvu has the semantics, 'strength, hardness'. This means, that zinc has the chemical characteristic of hardening soft copper when alloyed with copper to produce brass. So, the ancient word for zinc is likely to be sattva.
Or. ṭaü ʻ zinc, pewter ʼ(CDIAL 5992). jasta 'zinc' (Hindi) sathya, satva 'zinc' (Kannada) The hieroglyph used on Indus writing consists of two forms: 卐卍. Considering the phonetic variant of Hindi gloss, it has been suggested for decipherment of Meluhha hieroglyphs in archaeometallurgical context that the early forms for both the hieroglyph and the rebus reading was: sattvaa. trápu n. ʻ tin ʼ AV.Pa. tipu -- n. ʻ tin ʼ; Pk. taü -- , taüa -- n. ʻ lead ʼ; P. tū̃ m. ʻ tin ʼ; Or. ṭaü ʻ zinc, pewter ʼ; OG. tarūaüṁ n. ʻ lead ʼ, G. tarvũ n. -- Si. tum̆ba ʻ lead ʼ GS74, but rather X tam̆ba < tāmrá --(CDIAL 5992)
sattu (Tamil), satta, sattva (Kannada) jasth जसथ्।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ्ज़स््थ््or zasuth ज़सुथ्।रप m. (sg. dat. zastas ुज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; ।रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter). *ṭhaṭṭha1 ʻbrassʼ. [Onom. from noise of hammering brass?]N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 1.Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H.ṭhaṭherā m.(CDIAL 5491, 5493).
The hieroglyph: svastika repeated five times on h182. Five svastika are thus read: taṭṭal sattva Rebus:zinc (for) brass (or pewter).See five svastika on Mohenjodaro prism tablet (m488)
Text 4306 h182A,B karã̄ n. pl.wristlets, banglesRebus: khãr 'blacksmith, iron worker' PLUS dula 'two' rebus: dul 'metal casting' PLUS karNaka 'rim of jar' rebus: karNaka 'scribe, helmsman, supercargo'
h609A,B (Identical to h182 A,B tablet)
The drummer hieroglyph is associated with svastika glyph on this tablet (har609) and also on h182A tablet of Harappa with an identical text.
dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’. The 'drummer' hieroglyph thus announces a cast metal. The technical specifications of the cast metal are further described by other hieroglyphs on side B and on the text of inscription (the text is repeated on both sides of Harappa tablet 182).
kola 'tiger' Rebus: kol 'alloy of five metals, pancaloha' (Tamil). kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi) Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that of Santals’ (Santali) kol ‘working in iron’ (Tamil) kōla1 m. ʻ name of a degraded tribe ʼ Hariv.
Pk. kōla -- m.; B. kol ʻ name of a Muṇḍā tribe ʼ.(CDIAL 3532) Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith(Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.)kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge.(DEDR 2133)
Ta. karaṭi, karaṭi-ppaṟai, karaṭikai a kind of drum (said to sound like a bear, karaṭi). Ka. karaḍi, karaḍe an oblong drum beaten on both sides, a sort of double drum. / Cf. Skt. karaṭa- a kind of drum.(DEDR 1264) Rebus: करडा karaḍāHard from
alloy—iron, silver &c.(Marathi)
[Alternative: ḍhol ‘drum’ (Gujarati.Marathi); ḍhōla m. ʻ large drum ʼ Rudray. 2. *ḍhōlla -- . [Only OAw. definitely attests -- l -- ]1. Gy. pal. daul ʻ drum ʼ, Paš. ḍūl (← Par. ḍuhūl IIFL iii 3, 65), Kho. (Lor.) dol, K. ḍōl m., kash. ḍhōl, L. P. Ku. N. A. B. ḍhol, OAw. ḍhora m., H. ḍhol m. -- Ext. -- kk -- : L. ḍholkī f. ʻ small drum ʼ, Ku. ḍholko, H. ḍholak f.2. Pk. ḍholla -- m., Or. ḍhola, Mth. Bhoj. Aw. lakh. Marw. G. M. ḍhol m.(CDIAL 5608) Rebus: large stone; dul ‘to cast in a mould’.]
karã̄ n. pl.wristlets, banglesRebus: khãr 'blacksmith, iron worker' [Alternative: kanac ‘corner’ Rebus: kancu ‘bronze’. dula 'pair' Rebus: dul 'cast metal'. kanka ‘Rim of jar’ (Santali)]; karṇaka rim of jar’(Skt.) Rebus:karṇaka ‘scribe’ (Telugu); gaṇaka id. (Skt.) (Santali) Thus, the tablets denote blacksmith's alloy cast metal accounting including the use of alloying mineral zinc -- satthiya 'svastika' glyph.
The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha brass (i.e. alloy of copper + zinc). Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथ् ।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ् ज़स््थ् ्or zasuth ज़सुथ ्। रप m. (sg. dat. zastas ु ज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter).jasta = zinc (Hindi) yasada(Jaina Pkt.)
*ṭhaṭṭha1 ʻbrassʼ. [Onom. from noise of hammering brass?]N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 1.Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H.ṭhaṭherā m.(CDIAL 5491, 5493).
Hence, the gloss to denote sulphate of zinc: తుత్తము [ tuttamu ] or తుత్తరముtuttamu. [Tel.] n. Vitriol. పాకతుత్తము white vitriol, sulphate of zinc. మైలతుత్తము sulphate of copper, blue-stone. తుత్తినాగము [ tuttināgamu ] tutti-nāgamu. [Chinese.] n. Pewter. Zinc. లోహవిశేషము.துத்தம்² tuttam, n. < tuttha. 1. A prepared arsenic, vitriol, sulphate of zinc or copper; வைப்புப்பாஷாணவகை. (சூடா.) 2. Tutty, blue or white vitriol used as collyrium; கண் மருந்தாக உதவும் துரிசு. (தைலவ. தைல. 69.)
சத்து³ cattu, n. prob. šilā-jatu. 1. A variety of gypsum; கர்ப்பூரசிலாசத்து. (சங். அக.) 2. Sulphate of zinc; துத்தம். (பைஷஜ. 86.)
Hieroglyphs, allographs:தட்டல் taṭṭal Five, a slang term; ஐந்து என்பதன் குழூஉக்குறி. (J.) Rebus: தட்டான்¹ taṭṭāṉ,n. < தட்டு-. [M.taṭṭān.] Gold or silver smith, one of 18kuṭimakkaḷ, q. v.; பொற்கொல்லன். (திவா.) Te. taṭravã̄ḍu goldsmith or silversmith. Cf. Turner,CDIAL, no. 5490, *ṭhaṭṭh- to strike; no. 5493, *ṭhaṭṭhakāra- brassworker; √ taḍ, no. 5748, tāˊḍa- a blow; no. 5752, tāḍáyati strikes.
*ṭhaṭṭha ʻ brass ʼ. [Onom. from noise of hammering brass? -- N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- 1. Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H. ṭhaṭherā m.(CDIAL 5491, 5493).
Glosses linked to zinc, pewter
तुत्थ tuttha [p= 450,2] n. (m.L. ) blue vitriol (used as an eye-ointment) Sus3r.; fire;n. a rock Un2. k. (Monier-Williams) upadhātuḥ उपधातुः An inferior metal, semi-metal. They are seven; सप्तोपधातवः स्वर्णं माक्षिकं तारमाक्षिकम् । तुत्थं कांस्यं च रातिश्च सुन्दूरं च शिलाजतु ॥ (Apte. Samskritam) Ta. turu rust, verdigris, flaw; turucu, turuci blue vitriol, spot, dirt, blemish, stain, defect, rust; turicu fault, crime, sorrow, affliction, perversity, blue vitriol; tukku, tuppu rust. Ma.turiśu blue vitriol; turumpu, turuvu rust. Ka. tukku rust of iron; tutta, tuttu, tutte blue vitriol. Tu. tukkůrust; mair(ů)suttu, (Eng.-Tu. Dict.) mairůtuttu blue vitriol. Te. t(r)uppu rust; (SAN) trukku id., verdigris. / Cf. Skt.tuttha- blue vitriol; Turner, CDIAL, no. 5855 (DEDR 3343). tutthá n. (m. lex.), tutthaka -- n. ʻ blue vitriol (used as an eye ointment) ʼ Suśr., tūtaka -- lex. 2. *thōttha -- 4. 3. *tūtta -- . 4. *tōtta -- 2. [Prob. ← Drav. T. Burrow BSOAS xii 381; cf. dhūrta -- 2 n. ʻ iron filings ʼ lex.]1. N. tutho ʻ blue vitriol or sulphate of copper ʼ, B. tuth.2. K. thŏth, dat. °thas m., P. thothā m.3. S. tūtio m., A. tutiyā, B. tũte, Or. tutiā, H. tūtā, tūtiyā m., M. tutiyā m.4. M. totā m.(CDIAL 5855) तुतिया [ tutiyā ] m ( H) Blue vitriol, sulphate of copper.तुत्या [ tutyā ] m An implement of the goldsmith.
तोता [ tōtā ]m ( H) (Properly तुतिया) Blue vitriol.(Marathi) <taTia>(M),,<tatia>(P) {N} ``metal ^cup, ^frying_^pan''. *Ho<cele>, H.<kARahi>, Sa.<tutiA> `blue vitriol, bluestone, sulphate of copper',H.<tutIya>. %31451. #31231. Ju<taTia>(M),,<tatia>(P) {N} ``metal ^cup, ^frying_^pan''. *Ho<cele>, H.<kARahi>,Sa.<tutiA> `blue vitriol, bluestone, sulphate of copper', (Munda etyma) S توتیاtotī-yā, s.f. (6th) Tutty, protoxyd of zinc. (E.) Sing. and Pl.); (W.) Pl. توتیاويtotīʿāwī. نیل توتیاnīl totī-yā, s.f. (6th) Bluevitriol, sulphate of copper. سبز توتیاsabz totī-yā, s.f. (6th) Green vitriol, or sulphate of iron.(Pashto) thŏth 1थ्वथ् । कण्टकः, अन्तरायः, निरोध, शिरोवेष्टनवस्त्रम् m. (sg. dat. thŏthasथ्वथस्), bluevitriol, sulphate of copper (cf. nīla-tho, p. 634a, l. 26)(Kashmiri) sattu, satavu, satuvu 'pewter' (Kannada) సత్తుతపెల a vessel made of pewter ज&above;स्ति&below; । त्रपुधातुविशेषनिर्मितम् jasthजस्थ। त्रपुm. (sg. dat.jastasजस्तस्), zinc, spelter; pewter. jastuvuजस्तुवु&below; । त्रपूद्भवःadj. (f.jastüvüजस्त&above;वू&below;), made of zinc or pewter. zasathज़स््थ् or zasuthज़सुथ् । त्रपु m. (sg. dat. zastasज़स्तस्), zinc, spelter, pewter (cf. Hindī jast).(Kashmiri) سjas, s.m. (6th) Pewter. Sing. and Pl. See also HIجستjast, s.m. (6th) Pewter. Sing. and Pl. . (P) jastaʿh, Pewter, Pl. يْey.(Pashto) खर्परसूत्र(p. 199)[ kharparasūtra ]nS A factitious metal, a sort of pewter. खापरसूत(p. 205)[ khāparasūta ]n(खर्परसूत्रS) A factitious metal, a sort of pewter.जस्त(p. 311)[ jasta ]n(H) A coarse kind of pewter, Spelter or Tutanag.जस्तफूल or जस्ताचें फूल(p. 311)[ jastaphūla or jastācē mphūla ]nPewter puffed out like a sponge by exposure to heat.जस्ती(p. 311)[ jastī ]a(जस्त) Relating toजस्तor pewter. भटूर or भटोर(p. 598)[ bhaṭūra or bhaṭōra ]nA factitious metal (of copper, lead, and pewter &c.)भरत(p. 603)[ bharata ]nA factitious metal compounded of copper, pewter, tin &c. 2 Green carbonate of lime. सुरई(p. 861) [ surī ] f (सुरा S through or H) A goblet for cooling water. It is commonly of pewter and is long-necked.(Marathi) H جستजस्तjast, s.m. Zine, spelter; tutenag; prince's metal; pewter:—rūp-jast, s.m. Pewter:—kālā jast, s.m. A sort of blende, or sulphuret of zinc. H جستيजस्तीjastī [jast, q.v.+ई(इन्)+कः], adj. Of, or made of, zinc, or pewter; pewter. H رانگ
रांगrāng[S. रङ्गं], s.f. = H رانگاरांगाrāṅgā [S. रङ्ग+कं], s.m. Pewter; tin:—rāṅg-bharā, s.m. A maker of pewter toys, a toyman (=rang-bhariyā):—rāṅg honā, v.n. To be melted or liquefied; (fig.) to fall or deteriorate in value.A رصاصraṣāṣ (v.n. fr. رصّ 'to stick or join together'), s.m. Lead; pewter; tin.A رصاصraṣṣāṣ (v.n. fr. رصّ; see raṣāṣ), s.m. A seller of lead; a worker in lead and pewter, a tinman.H روپरूपrūp [Prk. रुप्पं; S. रूप्यं], s.m. Silver (=rūpā); base silver:—rūp-jast, s.m. Mixed metal, a metal composed of quicksilver, tin, and lead (of which ḥuqqa bottoms, &c. are made); pewter:—rūp-ras, s.m. Killed or calcined silver.(Urdu) কংস, কংশ(p. 0192) [ kaṃsa, kaṃśa ] n bell metal—an alloy of copper and tin, pewter; a vessel of bell metal. রূপ(p. 0916) [ rūpa ] ̃দস্তাn. pewter, white metal; German silver. (Bengali) rūḥi tutiyā, Mercury; a sort of pewter; wine;--rūḥi ḥayātī, The vital spirit A قردیرqazdīr, Tin, pewter.G قسطیرqist̤īr,Tin, pewter.شیرkafshīr, Solder; borax; lead, tin, pewter;--kafshīr kardan, To solder;--kafshīr giriftan (paẕīruftan), To be sol- dered, closed up, united; to heal.(Persian)
Niruktam explains the expression as a metaphor which conveys semantics -- वचनवन्तः ।
When Soma is pressed out without any residue (as brilliantly elaborated by Vipin Kumar Mahodaya; see appended explanatory note), the full product is realized. Sayana explains the expression as अभिषूयमाणाः : अभि-षु( 3√सु) , (3. pl. -षुण्व्/अन्ति ; ind.p. -ष्/उत्य) to press out (with stones) the सोम juice (or any other juice) S3Br. &c ; to press out with the help of any liquid Mn. v , 10 (Pass. 3. pl. -षूयन्ते) Sus3r. ; (fut. p. -सोष्यत् cf. Pa1n2. 8-3 , 117) to moisten Bhat2t2. : Caus. -षावयति Pa1n2. 8-3 , 65 Comm.
In RV 9.75.5 the metaphor is explained by Sayana as loud-sounding proclamation of the resultant full product. नामन्nāman in Vedic is ‘mark, sign, token’; महन्नाम is the name of the abundantly realized product. Thus, in RV 10.125 the expression Somam Ahanasam refers to the full realized product (concentrating the full essence or sap), wealth of Soma.
आहनस् त्रि० आ + हन--असुन् । १ आहननीये २ निष्पीड्येसौमादौ । “तदाहना अभवत् पिप्युषी” ऋ० २, १३,१ । आहनाः आहननीयः सोमादिः” भा० आहनसे साधुयत् । “आहनस्यं तत्साधने त्रि० । “आहनस्याद्वै रेतःसिच्यते” ऐत० व्रा० ।--वाचस्पत्यम्
Anvaya: निष् niṣ 1 Ā. (नेषते) To moisten, wet. निष्पीडनम् niṣpīḍanam Pressing, squeezing. निष्पीडित niṣpīḍita p. p. Squeezed, pressed together or out; निष्पीडितेन्दुकरकन्दलजो नु सेकः U.3.11.निष्पू niṣpū 9 U. 1 To purify. -2 To winnow, fan.
RV 2.13.1 Griffith translation: RV 2.13.1. THE Season was the parent, and when born therefrom it entered rapidly the floods wherein itgrows. Thence was it full of sap, streaming with milky juice: the milk of the plants' stalk is chief and meet for lauds.
RV 2.13.1 Wilson translation The season (of the rains) is the parent (of the Soma), which, as soon as born of her, enters into the waters in which it grows; thence it is fit for expression, as concentrating (the essence of the) water, and the juice of the Soma is especially to be praised (as the libation proper for Indra).
RV 9.75.4,5 Griffith translation RV 9.75.4,5 4 Pressed by the stones, with hymns, and graciously inclined, illuminating both the Parents,Heaven and Earth, He flows in ordered season onward through the flee, a current of sweet juice still swelling day by day.
5 Flow onward, Soma, flow to bring prosperity: cleansed by the men, invest thee with the milkydraught. What gladdening drinks thou hast, foaming, exceeding strong, even with these incite Indra to give us wealth.
Wilson translation RV 9.75.4 Effused by the stones and by the praises, fit for food, illuminating heaven and earth the parents (of the universe), pure, (the Soma), flows between the sheep's hairs, diluted (with the water) the stream of the exhilarating beverage (is purified) day by day.
RV 9.75.5Soma, flow forth for our welfare; purified by the priests cloth yourself in the (milky) mixture; with the exhilarating loud-sounding mighty juices which you have, inspire Indra to bestow affluence upon us. [Loud-sounding: a_hanasas = having slaughter, or having utterance; or, being struck or pressed; or, having praises].
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The very word vaccination is derived from the Indian word: vatsa'cow calf'.
Cowpox (vaccina) pustules on a cow's udder vatsá1 m. ʻ calf, child ʼ RV., voc. as term of endear- ment MBh., vatsā -- f., ŚāṅkhŚr., vatsaka -- m. ʻ little calf ʼ Mn., vatsikā -- f. ʻ heifer ʼ Yājñ. [Orig. ʻ yearling ʼ and same as vatsa -- 2] Pa. vaccha -- m. ʻ calf ʼ, ˚aka -- m. ʻ little calf ʼ; Pk. vaccha -- m. ʻ calf ʼ, Tir. baċa, Paš.kuṛ. ar. wāċək, lauṛ. wasāk; Gaw. ēċīˊ f. ʻ cow ʼ (< vatsikā -- NOGaw 27); Kal. baċhá m. ʻ yearling calf ʼ; Tor. bās m., biās f. ʻ calf ʼ, Sv. bāċo, K. woċhu m., pog. wŏċ; S. vacha f. ʻ buffalo calf ʼ; L. vacch f. ʻ suckling buffalo calf ʼ, vacchā m., ˚chī f. ʻ calf, P. vacchā, ba˚ m., vacchī f.; WPah.bhad. baċhī ʻ cow ʼ; Ku. bācho m. ʻ calf ʼ, gng. bāch, N. bācho m., ˚chi f.; A. bāsā ʻ affectionate address to a child ʼ; B. bāchā ʻ calf, young of animal, dear child ʼ; Or. bāchā, (Sambhalpur) bachā ʻ young bullock ʼ, bāchī ʻ heifer calf ʼ; Bi. bāchā, bachwā m. ʻ calf ʼ, bāchī, bachiyā f.; Mth. bācchā ʻ young of animal, esp. calf ʼ; Bhoj. bāchī f. ʻ calf ʼ, Aw.lakh. bachawā m., bachiyā f., H. bāchā m., bachiyā f., Si. vassā (st. vasu -- , vahu -- ) m., vässi f. -- Ext. -- uḍa -- (< *kuḍa -- 1? -- with meaning ʻ young of animal ʼ esp. in Kaf. and Dard.): Kt. wuċúŕ, waċíṛ ʻ calf ʼ, Niṅg. buċə̃ṛə́, Kal.urt. baċhoŕä, rumb. bičhoŕə ʻ new -- born calf ʼ; Sh.gil. koh. băċhṓ m., (Lor.) b*lċōī f., gur. băċhóu m., pales. baċoṛo, jij. b*lċɔ́ṛɔ, K. waċhoru m., waċhar, waċhürü f., ḍoḍ. baċuṛō m., WPah. bhal. báċhuṛ n. -- Ḍ. b*lčōṭo m. -- Woṭ. bačḗṇ f. ʻ calf ʼ < *vatsanī -- (cf. B. bāchni f. of bāchā above) whence bačṓṇ m. -- ċh assim. to c̣h in Dm. bac̣hoŕī f. ʻ newborn calf ʼ (after which bac̣ho m.); Kho. bac̣hóḷ ʻ calf ʼ BelvalkarVol 87, Phal. bac̣hūṛu m.f. -- X ukṣán -- 1 q.v.(CDIAL 11239)
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कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic ... कर्णक 'spread legs' rebus: 'helmsman', karṇi 'supercargo'
m0304
Seal m0304 is a pictorial gallery par excellence. Each pictograph is a hieroglyph signifying Meluhha rebus metalwork repertoire and wealth of the artisan guild.
Field symbol hieroglyphs:
Ta. kuntam haystack. Ka. kuttaṟi a stack, rick. (DEDR 1724) rebus: kunda '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. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725).
Ka. mēke she-goat; mē the bleating of sheep or goats. Te. mē̃ka, mēka goat. Kol. me·ke id. Nk. mēke id. Pa. mēva, (S.) mēya she-goat. Ga. (Oll.) mēge, (S.) mēge goat. Go. (M) mekā, (Ko.) mēka id. ? Kur. mēxnā (mīxyas) to call, call after loudly, hail. Malt. méqe to bleat. [Te. mr̤ēka (so correct) is of unknown meaning. Br. mēḻẖ is without etymology; see MBE 1980a.] / Cf. Skt. (lex.) meka- goat. (DEDR 5087) rebus: milakkhu 'copper, Meluhha'.
karibha, ibha 'elephant' rebus: karba, ib 'iron'
gaṇḍa 'rhinoceros'; Rebus: kāṇḍa 'tools, pots and pans and metalware'
kola, kul 'tiger' rebus: kola 'working in iron' PLUS panja 'feline paw' rebus: panja 'kiln, smelter'kũdā kol (tiger jumping) rebus: kũdār 'turner' (Bengali) कोंदkōnda ‘engraver, lapidary setting or infixing gems’ (Marathi)Hieroglyph: కోలు(p. 0329) [ kōlu ] kōlu. [Tel.] adj. Big, great, huge పెద్ద. కోలుపులి or కోల్పులి a royal tiger. kul 'tiger' (Santali) kul 'tiger' (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.)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. 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 (CDIAL 3615). कोल्हा [ kōlhā ] कोल्हें [ kōlhēṃ ] A jackal (Marathi) Rebus: kolhe 'smelter' kol 'working in iron' kolle 'blacksmith' kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pañcaloha’ (Ta.)
Open mouth of tiger: Orthographic device of 'tiger with open mouth' signifies:व्यो-कार, व्योकरः bogāṟa 'blacksmith' (Kannada) wuhawān वुहवान् । सिंहगर्जनम् f. the roar of a lion or tiger.(Kashmiri)व्योकरः vyōkarḥ व्योकरः A blacksmith; व्योकाराः शौल्विकास्तथा (Śiva Bhārata by Paramānanda.31.17.) The significance of the tiger as with an open mouth, making the sound vyo may also explain vyāghrá m. ʻ tiger ʼ AV., °rī -- f. MBh. 2. *viyāghra -- .1. Pk. vaggha -- m. ʻ tiger ʼ, °ghī -- f.; Sh. băg -- bĭăṛṷ m. ʻ leopard ʼ (+ biḍāla -- ); S. vāghu m. ʻ tiger ʼ, P. bāgh m., kgr. barāgh m. ʻ leopard ʼ, WPah.bhad. ḍhḷāhg, bhal. ḍḷāg, pāḍ. dlāhg, cur. brāhg, sod. brag, roh. brāg, Ku. bāg (gng. ʻ tiger ʼ); N. bāgh, bāg ʻ tiger ʼ, A. B. bāgh (B. also bāg), Or. bāgha, Mth. Bhoj. Aw.lakh. H. bāgh m., G. M. vāgh m., Ko. vāgu, Si. vaga; Md. vag ʻ tiger, lion ʼ.2. Pa. vyaggha -- , by° m. ʻ tiger ʼ, viyagghinī -- , bi° f., NiDoc. vyagra F. W. Thomas AO xii 40, Pk. viaggha<-> m.*vyāghrarūpa -- , *vyāghrāmbara -- .Addenda: vyāghrá -- : WPah.kṭg. brággh m., kc. brāgh, bərāgh ʻ leopard ʼ, J. brāgg m., kṭg. brágghəṇ f.; Garh. bāg ʻ tiger ʼ, Md. vagu.(CDIAL 12193)
व्यो-कार m. (prob.) " making the sound व्यो " , a blacksmith Hcar. (Monier-Williams)
Leaping tiger: B. kũdā, kõdā 'to leap'; Or. kudibā ʻ to jump, dance ʼ; Mth. kūdab ʻ to jump ʼ, Aw. lakh. kūdab, H. kūdnā, OMarw. kūdaï, G. kūrda m. ʻ jump ʼ, gūrda -- m. ʻ jump ʼ Kāṭh. [√kūrd] S. kuḍ̠u m. ʻ leap ʼ, N. kud, Or. kuda, °dā, kudā -- kudi ʻ jumping about ʼ. kūˊrdati ʻ leaps, jumps ʼ MBh. [gūˊrdati, khūˊrdatē Dhātup.: prob. ← Drav. (Tam. kuti, Kan. gudi ʻ to spring ʼ) T. Burrow BSOAS xii 375]S. kuḍ̠aṇu ʻ to leap ʼ; L. kuḍ̠aṇ ʻ to leap, frisk, play ʼ; P. kuddṇā ʻ to leap ʼ, Ku. kudṇo, N. kudnu, (CDIAL 3411, 3412) Rebus: kō̃daकोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal-बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). -- khasüñü -- । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 133, where the causal form of the verb is used. (Kashmiri)
rã̄go ʻ buffalo bull ʼ (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. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562)त्रिशिरस्, is the three-headed son of Tvaṣṭā, 'smelter, brass-worker'. He is invoked in RV 10.125 together with Soma and other divinities. The Sukta is devoted to devatA AtmA, 'supreme life principle of materiality'. त्रि--शिरस् is Kubera, divinity of wealth artificer in copper and carpentry.
त्रि--शिरस्, son of त्वाष्ट्र is author of RV. x , 8 and refers to त्रि--शिरस् narrative
10.008.07 Trita by (his own), desiring a share (of the sacrifice), for the sake of taking part in the exploit of the supreme protector (of the world), chose (Indra as his friend); attended (by the priests) in the proximity of the parental heaven and earth, and reciting appropriate praise, he takes up his weapons. [Legend: Indra said to Trita, 'You are skiled in the weapons of all; aid me in killing Tris'iras the son of Tvas.t.a_'. Trita agreed on condition of having a share in the sacrifices offered to Indra. Indra gave him water to wash his hands with and a share in the sacrifice, whereby Trita's strength increased; seven-rayed: i.e., seven-tongued, seven-rayed, like the sun, or seven-handed]. 10.008.08 He, the son of the waters, incited by Indra, skilled in his paternal weapons, fought against (the enemy), and slew the seven-rayed, three-headed (asura); then Trita set free the cows of the son of Tvas.t.a_. 10.008.09 Indra, the protector of the virtuous, crushed the arrogant (foe), attaining vast strenth; shouting, he cut off the three heads of the multiform son of Tvas.t.a_ (the lord) of cattle. [Shouting: s'abdam kurvan; gona_m acakra_n.ah, appropriating the cattle].
Griffith RV 10.8.1. AGNI advances with his lofty banner: the Bull is bellowing to the earth and heavens.
He hath attained the skys' supremest limits. the Steer hath waxen in the lap of waters. 2 The Bull, the youngling with the hump, hath frolicked, the strong and neverceasing- Calf hath bellowed. Bringing our offerings to the Gods' assembly, he moves as Chief in his own dwellingplaces-. 3 Him who hath grasped his Parents' head, they stablished at sacrifice a wave of heavenly lustre. In his swift flight the red Dawns borne by horses refresh their bodies in the home of Order. 4 For, Vasu thou precedest every Morning, and still hast been the Twins' illuminator. For sacrifice, seven places thou retainest while for thine own self thou engenderest Mitra. 5 Thou art the Eye and Guard of mighty Order, and Varuna when to sacrifice thou comest. Thou art the WatersChild O Jatavedas, envoy of him whose offering thou acceptest. 6 Thou art the Leader of the rite and region, to which with thine auspicious teams thou teadest, Thy lightbestowing- head to heaven thou liftest, making thy tongue the oblationbearer, Agni. 7 Through his wise insight Trita in the cavern, seeking as ever the ChiefSires' intention, Carefully tended in his Parents' bosom, calling the weapons kin, goes forth to combat. 8 Wellskilled- to use the weapons of his Father, Aptya, urged on by Indra, fought the battle. Then Trita slew the foe sevenrayed-, threeheaded-, and freed the cattle of the Son of Tvastar. 9 Lord of the brave, Indra cleft him in pieces who sought to gain much strength and deemed him mighty. He smote his three heads from his body, seizing the cattle of the oniniform Son of Tvastar.
त्रि--शिरस् three-headed (त्वाष्ट्र , author of RV. x , 8.) (ताण्ड्य-ब्राह्मण, xvii, बृहद्-देवता, कौषीतकि-उपनिषद्, महाभारत, कामन्दकीय-नीतिसार) ; कुबेर. He is specially invoked in RV 10.125 Devi Suktam.
त्वष्टिः tvaṣṭiḥf. Carpentry; Ms.10.48. त्वष्टृ tvaṣṭṛm. [त्वक्ष्-तृच्] 1 A carpenter, builder, orkman, त्वष्ट्रेव विहितं यन्त्रम् Mb.12.33.22. -2 Viśvakarman, the architect of the gods. [Tvaṣtṛi is the Vulcan of the Hindu mythology. He had a son named Triśiras and a daughter called संज्ञा, who was given in marriage to the sun. But she was unable to bear the severe light of her husband, and therefore Tvaṣtṛi mounted the sun upon his lathe, and carefully trimmed off a part of his bright disc; cf. आरोप्य चक्रभ्रमिमुष्णतेजास्त्वष्ट्रेव यत्नोल्लिखितो विभाति R.6.32. The part trimmed off is said to have been used by him in forming the discus of Viṣṇu, the Triśūla of Śiva, and some other weapons of the gods.] पर्वतं चापि जग्राह क्रुद्धस्त्वष्टा महाबलः Mb.1.227.34. -3 Prajāpati (the creator); यां चकार स्वयं त्वष्टा रामस्य महिषीं प्रियाम् Mb.3.274.9. -4 Āditya, a form of the sun; निर्भिन्ने अक्षिणी त्वष्टा लोकपालोऽविशद्विभोः Bhāg.3.6.15.
त्वाष्ट्र tvāṣṭraa. Belonging or coming from त्वष्टृ; त्वाष्ट्रं यद् दस्रावपिकक्ष्यं वाम् Rv.1.117.22. -ष्ट्रः Vṛitra; येनावृता इमे लोकास्तमसा त्वाष्ट्रमूर्तिना । स वै वृत्र इति प्रोक्तः पापः परमदारुणः ॥ Bhāg.6.9.18;11.12.5. -ष्ट्री 1 The asterism Chitra. -2 A small car. -ष्ट्रम् 1 Creative power; तपःसारमयं त्वाष्ट्रं वृत्रो येन विपाटितः Bhāg.8.11.35. -2 Copper.(Apte)
Three faces: Glyphics of shoggy, brisltles of hair on the face of the person: Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.)
mũh rebus: Rebus: mũh 'ingot' (Munda) mūhā mẽṛhẽt 'iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends.'(Santali)mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.) kaula mengro ‘blacksmith’ (Gypsy) mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) The Sanskrit loss mleccha-mukha should literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix Adorned, wristlets: sekeseke, sekseke covered, as the arms with ornaments; sekra those who work in brass and bell metal; sekra sakom a kind of armlet of bell metal (Santali) maṇḍana n. ʻ adorning ʼ MBh., maṇḍaná -- adj. Pāṇ. [√maṇḍ] Pa. maṇḍana -- n., Pk. maṁḍaṇa -- n. and adj.; OMarw. māṁḍaṇa m. ʻ ornament ʼ; G. mã̄ḍaṇ n. ʻ decorating foreheads and cheeks of women on festive occasions ʼ. Rebus: maṇḍā ‘warehouse’. Bracelets on both hands: karã̄ n.pl.ʻwristlets, banglesʼ.(Gujarati)S. karāī f. ʻ wrist ʼ(CDIAL 2779) Rebus: khārखार् 'blacksmith' (Kashmiri).khār खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b,l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta
khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु&below; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü -ग&above;जू&below; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू&below; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क&above;टु&below; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste.। लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.(Kashmiri)
Seated in penance: kamaḍha 'penance' rebus kammaṭa 'mint'. Seated on platform: maṇḍā ‘raised platform, stool’ Rebus: maṇḍā ‘warehouse’. ṭhaṭera 'buffalo horns' rebus: ṭhã̄ṭhāro, ṭhaṭherā 'brass-worker'
kuṇḍī = crooked buffalo horns (L.) Rebus: kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.lex.) I.e. śreṇi jeṭṭha chief of metal-worker guild. thattār 'buffalo horn' Rebus: tvaṣṭṛ, taṭṭār 'smelter, brass worker' त्वष्ट [p= 464,1] mfn. ( √ त्वक्ष्) = तष्ट L. तष्ट [p= 441,2]mfn. ( √ तक्ष्) pared , hewn , made thin L.fashioned , formed in mind , produced RV. AV. xi , 1 , 23विभ्व-तष्ट्/अ. तष्टृ [p= 441,2] m. a carpenter , builder of chariots RV. i , 61 , 4 ; 105 , 18 ; 130 , 4 ii f. , vii , xविश्व-कर्मन् (cf. त्व्/अष्टृ) L. N. of one of the 12आदित्यs L.தொட்டா toṭṭā, n. < TvaṣṭāTvaṣṭṛ. One of tuvātacātittar, q.v.; துவாதசாதித்தருள்ஒருவன்.நள்ளிருளெறிதொட்டா (கூர்மபு.ஆதவர்சிறப். 2).துவட்டர் tuvaṭṭar , n.< tvaṣṭṛ.Artificers, smiths; சிற்பியர். (சூடா.) துவட்டன்tuvaṭṭaṉ , n. < Tvaṣṭṛ. A deity representing the sun, one of the tuvātacātittar, q.v.; துவாதசாதித்தருள்ஒருவன். (திவா.)துவட்டா tuvaṭṭā, n. < TvaṣṭāTvaṣṭṛ. Višvakarmā, the architect of the gods; தெய்வத்தச்சனாகியவிசுவகருமா.துவட்டாவீன்றதனயன்(திருவிளை.இந்திரன்பழி. 8).11)త్వష్ట (p. 573) tvaṣṭa tvashṭa. [Skt.] n. A carpenter, వడ్లవాడు. The maker of the universe. విశ్వకర్త. One of the 12 Adityas, ద్వాదశాదిత్యులలోనొకడు. ترکانړ tarkāṟṟṉ, s.m. (5th) A carpenter. Pl. ترکانړانtarkāṟṟṉān. (Panjābī).دروزګرdarūz-gar, s.m. (5th) A carpenter, a joiner. Pl. دروزګرانdarūzgarān (corrup. of P درود گر). (Pashto) tŏrka त्वर्क in tŏrka-chān त्वर्क-छान् । कौटतक्षः m. a private carpenter, a village carpenter who works on his own account, a cabinet maker (H. vii, 17, 2); cf. chān 1.-chān-bāy -छान्-बाय् । स्वतन्त्रतक्षस्त्री f. his wife.-chönil -छा&above;निल् । कौटतक्षता f.(Kashmiri) Thapati [Vedic sthapati, to sthā+pati] 1. a builder, master carpenter M i.396=S iv.223; M iii.144, <-> 2. officer, overseer S v.348. (Pali)
Head gear: Hieroglyph: taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker'; tatara 'smelter' (Japanese) < ṭhaṭṭhāra 'brass worker' (Prakritam) (< is indicated as a possibile transfer mode in language contacts for metalwork technical gloss.)
"The tatara (鑪?) is the traditional Japanesefurnace used for smeltingiron and steel. The word later also came to mean the entire building housing the furnace...tatara is foreign to Japan, originating in India or Central Asia...Tokutaro Yasuda suggests that the word may be from the Sanskrit word taatara, meaning "heat," noting that the Sanskrit word for steel is sekeraa, which is very similar to the word used in Japan for the steel bloom which the tatara produces..."
The dissemination of iron-manufacturing technology to Japan
*ṭhaṭṭh ʻ strike ʼ. [Onom.?]N. ṭhaṭāunu ʻ to strike, beat ʼ, ṭhaṭāi ʻ striking ʼ, ṭhaṭāk -- ṭhuṭuk ʻ noise of beating ʼ; H.ṭhaṭhānā ʻ to beat ʼ, ṭhaṭhāī f. ʻ noise of beating ʼ.(CDIAL 5490)
தட்டான்¹ taṭṭāṉ, n. < தட்டு-. [M. taṭṭān.] Gold or silver smith, one of 18 kuṭimakkaḷ, q. v.; பொற்கொல்லன். (திவா.) Te. taṭravã̄ḍu goldsmith or silversmith. Cf. Turner,CDIAL, no. 5490, *ṭhaṭṭh- to strike; no. 5493, *ṭhaṭṭhakāra- brassworker; √ taḍ, no. 5748, tāˊḍa- a blow; no. 5752, tāḍáyati strikes.
*ṭhaṭṭha ʻ brass ʼ. [Onom. from noise of hammering brass? -- N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- 1. Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H. ṭhaṭherā m.(CDIAL 5491, 5493)
Tatta1 [pp. of tapati] heated, hot, glowing; of metals: in a melted state (cp. uttatta) Aii.122≈(tattena talena osiñcante, as punishment); Dh 308 (ayoguḷa); J ii.352 (id.); iv.306 (tattatapo "of red -- hot heat," i. e. in severe self -- torture); Miln 26, 45 (adv. red -- hot); PvA 221 (tatta -- lohasecanaŋ the pouring over of glowing copper, one of the punishments in Niraya).(Pali)
தட்டுமுட்டு taṭṭu-muṭṭu, n. Redupl. of தட்டு² [T. M. Tu. taṭṭumuṭṭu.] 1. Furniture, goods and chattels, articles of various kinds; வீட்டுச்சாமான்கள். தட்டுமுட்டுவிற்றுமாற்றாது (பணவிடு. 225). 2. Apparatus, tools, instruments, utensils; கருவிகள். 3. Luggage, baggage; மூட்டைகள். (W.)Ta. taṭṭumuṭṭu furniture, goods and chattels, utensils, luggage. Ma. taṭṭumuṭṭu kitchen utensils, household stuff. Tu. taṭṭimuṭṭu id.(DEDR 3041)
kuṁḍa 'cluster' rebus: (अग्नि-)कुण्ड, (agni-) kuṇḍa 'fire-pit'.kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ.(CDIAL 3236). kundār turner (A.)(CDIAL 3295). kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374] Pk. kuṁḍa-- n. ʻ heap of crushed sugarcane stalks ʼ (CDIAL 3266) Ta. koṇtai tuft, dressing of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane), round top. Ma. koṇṭa tuft of hair. Ko.goṇḍ knob on end of walking-stick, head of pin; koṇḍ knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (< Badaga koṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair on the crown of the head. Cf. 2049 Ta. koṭi. / Cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-), Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft. (DEDR 2081) kuṇḍī = crooked buffalo horns (L.) rebus: kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.lex.) I.e. śreṇi jet.t.ha chief of metal-worker guild. koḍ 'horns'; rebus: koḍ 'artisan's workshop' (G.) Thus the entire glyphic composition of hieroglyphs on m1181 seal is a message conveyed from a sodagor 'merchant, trader'. The bill of lading lists a variety of repertoire of the artisan guild's trade load from a mint -- the native metal and brass workshop of blacksmith (guild) with furnace: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'.
Ta. koṇtai tuft, dressing of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane), round top. Ma. koṇṭa tuft of hair. Ko. goṇḍ knob on end of walking-stick, head of pin; koṇḍ knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (< Badaga koṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair on the crown of the head. Cf. 2049 Ta. koṭi. / Cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-), Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft.(DEDR 2081) rebus: Kur. xoṇḍxā, xō̃ṛxā deep; a pit, abyss. Malt. qonḍe deep, low lands.(DEDR 2082) koNDA 'sacred fire-pit of live coals'
Span of both arms: କୁଣ୍ଢ— Kuṇḍha [synonym(s): হাতের বেড়हातकाघेरा; गाद]ଦେ. ବି— ବିସ୍ତାରିତ ବାହୁଦ୍ବଯମଧ୍ଯସ୍ଥ ବୃତ୍ତାକାର ବ୍ୟବଧାନ; ବାହୁ ପାଶଦ୍ବାରା ବେଷ୍ଟିତ ବୃତ୍ତ; ବୃତ୍ତାକାର ବାହୁଦ୍ବଯର ବେଷ୍ଟନୀ; ଦୁଇବାହୁର ବେଢ଼; ଦୁଇ ହାତର ଅଗ୍ରଭାଗକୁ ପରସ୍ପର ସ୍ପର୍ଶ କରି ବାହୁଦ୍ବଯକୁ ଚକ୍ରାକାର କଲେ ତହିଁଦ୍ବାରା ବେଷ୍ଟିତ ବ୍ୟବଧାନ— The circular space enclosed by the two arms by extending them and causing the finger ends to touch each other; the span of the two arms (Oriya)
Hypertext on m0304 (Top line of 6 hieroglyphs)
Rebus readings from R. in two parts of hypertext.
Part 1 (with four hieroglyphs):
Sign 1 (Mahadevan concordance)
1. meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic) karṇaka 'spread legs' rebus: karṇī 'supercargo, merchant's responsible for the cargo of shipment')
4. sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) PLUS Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790) karNI 'Supercargo'. Thus, cargo handed/accounted from workshop account to supercargo.
Part 2 with two hieroglyhs:
5. aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda).PLUS khambhaṛā ʻfinʼ rebus:kammaTa 'mint, coiner, coinage' 6. PLUS kanka, karNaka 'rim of jar' rebus:karNI 'Supercargo' karNaka 'account,scribe'. Thus, this second part of the hypertext reads: Mintwork account (to) Supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.
Thus, seal m0304 Mohenjo-daro is a comprehensive metalwork catalogue of a mint documenting, using dharma saṁjñā 'responsibility markers or hieroglyphs, the tasks assigned to kuṇḍi-a = village headman' ; leader of a village (Pkt.lex.) i.e. śreṇi jet.t.ha chief of metal-worker guild. This is an unambiguous, remarkable example proving that Indus Script is a knowledge system. There are over 7000 inscriptions on Indus Script Corpora detailing the technical specifications of the knowledge system which facilitated trade/exchange transactions by seafaring merchants of Meluhha.
-- Tvaṣṭā त्रिशिरस्'three-headed'ṭhaṭherā 'brass-worker' of kammaṭa'mint' is repeated on a number of Indus Script inscriptions
-- Many of these inscriptions associate the brass-worker with products from phaḍa,'metals manufactory'
--On m304 the text message highlights the significance of 'writers' workshop'
त्रिशिरस् three-headed son of Tvaṣṭā on seal m304 is master of pasara 'animals' rebus pasarā ʻtray of goods for sale' https://tinyurl.com/y8k977dx
त्वष्टृपुत्रस्त्रिशिरानामर्षिः (RV 10.8) He is kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.) I.e. śreṇi jet.t.ha chief of metal-worker guild. He is identified by the posture of being seated in penance.
Seated in penance: kamaḍha 'penance' rebus kammaṭa 'mint'.
The key hypertext reads: sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) PLUS Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr.; thus, the hypertext signifies kárṇasal 'writers' workshop'.
This narrative recurs on the following inscriptions.
Text on obverse of the tablet m453A: Text 1629. m453BC Seated in penance, the person is flanked on either side by a kneeling adorant, offering a pot and a hooded serpent rearing up. Glyph: kaṇḍo ‘stool’. Rebus; kaṇḍ ‘furnace’. Vikalpa: kaṇḍ ‘stone (ore) metal’. Rebus: kamaḍha ‘penance’. Rebus 1: kaṇḍ ‘stone ore’. Rebus 2: kampaṭṭa ‘mint’. Glyph: ‘serpent hood’: paṭa. Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’ (Ko.) Glyph: rimless pot: baṭa. Rebus: bhaṭa ‘smelter, furnace’. It appears that the message of the glyphics is about a mint or metal workshop which produces sharpened, tempered iron (stone ore) using a furnace.
Rebus readings of glyphs on text of inscription:
koṇḍa bend (Ko.); Tu. Kōḍi corner; kōṇṭu angle, corner, crook. Nk. Kōnṭa corner (DEDR 2054b) G. khū̃ṭṛī f. ʻangleʼRebus: kõdā ‘to turn in a lathe’(B.) कोंदkōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ = place where artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) कोंडण[kōṇḍaṇa] f A fold or pen. (Marathi) B. kõdā ‘to turn in a lathe’; Or.kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. Kū̃d ’ lathe’) (CDIAL 3295) sal 'splinter' rebus: sal 'workshop'. Thus, turner's workshop. khambhaṛā 'fish-fin' rebus: kammaTa 'mint' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal';thus alloy metal mint. bhaTa 'adorant' rebus: bhaTa 'furnace', baṭa 'iron' G.karã̄ n. pl. ‘wristlets, bangles’; S. karāī f. ’wrist’ (CDIAL 2779). Rebus: khār खार् ‘blacksmith’ (Kashmiri)
Md-013 kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa ‘metalware’ kaṇḍa ‘fire-altar’. kAru 'crocodile' Rebus: kAru 'artisan'.
Copper plate reported by Vasant Shinde and Rick Willis.
·kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’.
·koḍ = horns (Santali); koḍ ‘workshop’ (G.)
·Pair of fishes (hieroglyph on the chest of the seated person): dula 'pair' Rebus: dul 'cast metal' ayo 'fish' Rebus: ayas 'metal alloy'; aya'iron' (Gujarati). Thus dul aya 'cast metal alloy'.
Ganweriwala (Urdu: گنےریوالا Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan. manḍa 'arbour, canopy' Rebus: mã̄ḍ ʻarray of instruments'; maṇḍā 'warehouse'. 1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230)
2. Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)
Impression. Unknown Near Eastern origin. 'One of the two anthropomorphic figures carved on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs, surrounded by snakes, fishes and water buffaloes. Photo by M Chuzeville for Departement des antiquities orientales, Musee du Louvre.' (Parpola, 1998, 2001) http://www.harappa.com/script/parpola0.html (Note 11)
Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro (DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA 1994:Fig. 10.9); courtesy of the Archaeological Survey of India; c. horned deity surrounded by animals, Mohenjo-daro (JOSHI – PARPOLA 1987:M-304); courtesy of the Archaeological Survey of India.
The epicentre of activities of the Sarasvati-Sindhu Civilization was on sapta-sindhu regional complex, composed of Panjnad + Sindhu + Sarasvati rivers. One of the five-river combine, Panjnad is Paruṣṇī (Ravi) River. Harappa is on the southbank of this river.
Sarasvati is subject to two battles.
One is the cosmic dance metaphor of the collison of continental plates which subjected the mountains and also the sacred river to thrusts, upheavals and migrations of tributaries -- Yamuna and Satluj -- flowing into and away from Sarasvati. This cosmic battle is yet to be reported fully.
The other terrestrial battle of Sarasvati people was first battle narrated in Rgveda as dvirdaśārājña battle of 20 kings fought for Soma by Paktha Divodāsa. A followup battle of 10 kings is waged by Sudāsa, the grandson of Divodāsa.
I submit that the fight for Soma waged by Divodāsa is a metaphor for the fight for wealth resources. The date for this first battle could be anytime between 7th and 5th millennium BCE.
There are over 75 references to Sarasvatī signified by a kaleidoscope of metaphors, as a river, as a light (knowledge system), as a divinity. All these references are presented as primary sources to define the course of the Himalayan glacier river and the tributary streams which join the navigable waterway.
Some intimations of the identity of the people who lived on the Sarasvati River Basin are also provided. The First battle of 20 kings was fought in Hariyupiya by Divodasa, a Paktha.
हरि-यूपीया andयव्या-वती are two vivid expressions used in R̥gveda which details two dāśarājñá wars (one with 20 combatants and the second with 10 combatants) fought on two fronts on Himalayan glacial rivers Yamunā and Paruṣṇī (Ravi).
Harappa, a pre-eminent archaeological settlement of Sarasvati Civilization is situated on the left-bank of River Paruṣṇī (Ravi). The site is the scene of defeat of the Vrcivants by Abhyavartin Cayamana.
Harappa, a pre-eminent archaeological settlement of Sarasvati Civilization is situated on the left-bank of River Paruṣṇī (Ravi). The site is the scene of defeat of the Vrcivants by Abhyavartin Cayamana.
Harappa ruins. Courtesy: Hassan Nasir
Harappa was a city on the south bank of the Ravi River. The settlement started as a small town centered around Mound F in the incipient stages of the settlement (3800–2600 B.C.E). As many as 20,000 inhabitants lived Mound E and AB during the urban period (2600–1900 B.C.E).
Divodāsa identified unambiguously in Rgveda, as the grandfather of Sudāsa
Divodāsa fought the first battle of 20 kings.
A battle narrated in Rgveda involved 20 kings in dvirdaśārājña द्विरदशराज्ञ and was led by Divodāsa, father of Sudāsa; the theatre of this battle was North-East of the Sarasvati River (around a place called Hariyupiya) and Ganga-Yamuna doab basins to gain control over the wealth resources of Sarasvati-Sindhu-Ganga-Yamuna doab Civilization. Following this, Divodāsa’s grandson Sudāsa wages the battle of 10 kings called daśārājña दशराज्ञ
RV 1.51 has the hymn of Savya Pajra.
RV 1.53.9 refers to Suśravas fighting the battle of twenty kings. Connected is Turvayana fighting Ayu.
RV 7.18.7
आ । पक्थासः । भलानसः । भनन्त । आ । अलिनासः । विषाणिनः । शिवासः ।
RV 2.14.7 refers to Ayu as the Rajarshi of Pururavasa. Ayu is involved in the migrations away from Kurukshetra as attested in Baudhayana S’rautasutra. Ayu went eastwards. Hence, the link with Divodasa of the Ganga basin. In RV 6.18.13 Sayana takes Turvayana as another descriptive name of Divodasa:तूर्वयाणं त्वरितगमनं दिवोदासम् | Since Turvayana is a mentioned as a Paktha in on Rgveda reference, Divodasa is also a Paktha. Thus, I submit that the First Battle of 20 kings was fought by Pakthas led by Divodasa.
Battle of 20 Kings dvirdaśārājña द्विरदशराज्ञ, yuddha identifies the combatants who are पितृ pitṛ ‘ancestors’ of Sarasvati-Sindhu Civilization
The battle of 20 kings is joined to gain control over the Soma products of wealth:
RV 5.29.11 The lauds of Gauriviti made thee mighty to Vidathins' son, as prey, thou gavest Pipru. Rjisivan drew thee into friendship dressing the sacred food, and thou hast drunk his Soma.
RV 2.14.5 Ye ministers, to him who struck down Svasna, and did to death Vyamsa and greedy Susna,And Rudhikras and Namuci and Pipru, to him, to Indra, pour ye forth libation.
The victor is Divodāsa Bharata. Śrnjaya (king of the people of Daivavata) and Trtsu-Bharata are allies of Divodāsa.
6.016.05 As you have conferred these many blessings upon Divoda_sa when presenting libations, (so now grant them) to the (actual) offerer, Bharadva_ja.
6.018.13 That exploit is celebrated in the present day (which you have) achieved for Kutsa, for A_yu, for Atithigvave; to him you have given many thousands (of riches), and you have quickly elevated Turvaya_n.a over the earth by your power. [Turvay_n.a: same as Divoda_sa, to whom Indra gave the spoils of S'ambara].
6.026.05 Indra, who are the subduer (of foes), you have achieved a glorious (deed), inasmuch as you have scatered, hero, the hundreds and thousands (of the host of S'ambara), have slain the slave S'ambara (when issuing) from the mountain, and have protected Divoda_sa with marvellous protections.
हे “इन्द्र “बर्हणा बर्हणः शत्रूणां हिंसकः “त्वम् “उक्थं प्रशस्यं “तत् कर्म “कः अकरोः । किं तत्कर्मेत्युच्यते । हे “शूर वीरेन्द्र त्वं “शता शतानि “सहस्रा सहस्राणि च शम्बरस्य अनुचरान् भटान् “प्र “दर्षि विदारितवानसि । तथा च निगमान्तरे-‘अध्वर्यवो यः शतं शम्बरस्य' (ऋ. सं. २. १४, ६) इति । तथा त्वं “दासं यज्ञादिकर्मणामुपक्षपयितारं “गिरेः पर्वतान्निर्गतं “शम्बरम् असुरम् “अव “हन् अवावधीः । तथापि श्रूयते– “यः शम्बरं पर्वतेषु क्षियन्तम्' (ऋ. सं. २. १२. ११ ) इति । किंच “चित्राभिः विचित्राभिः “ऊती ऊतिभिः रक्षाभिः “दिवोदासं राजानं “प्रावः प्रकर्षेण पालयसि स्म ॥
--सायणभाष्यम्
6.031.04 You have destroyed the hundred impregnable cities of the Dasyu, S'ambara, when sagacious Indra, you, who are brought by the libation, have bestowed in your liberality riches upon Divoda_sa presenting to you libations, and upon Bharadva_ja hymning your praise. [Dasyu, S'ambara: S'ambara is an asura; Dasyu and Asura appear to be synonymous].
6.043.01 This Soma, in the exhilaration of which it is known that you have subdued S'ambara for (the sake of) Divoda_sa, is poured out, Indra, for you; drink. [It is known: yasya tyacchambaram made: tyat = tat prasiddham yatha_ bhavati tatha_, such as that which is notorious].
6.047.22 Prastoka has given to your worshipper, Indra, ten purses of gold, and ten horses, and we have accepted this treasure from Divoda_sa, the spoil won by Atithigva from S'ambara. [Ten purses of gold: das'a kos'aih suvarn.a pu_rn.am das'akos'a_n, the ten bags or chests full of gold; atithigva: prastoka, divoda_sa and atithigva, are different names of the same person, a ra_ja_, the son of Sr.n~jaya].
6.047.23 I have received ten horses, ten purses, clothes, and ample food and ten lumps of gold from Divoda_sa.
6.047.24 As'vattha has given to Pa_yu ten chariots with their horses, and a hundred cows to the priests. [To the priests: atharvabhyah = r.s.is of the atharvagotra; pa_yu is the brother of Garga; As'vattha = Prastoka].
6.047.25 The son of Sr.n~jaya has reverenced the Bharadva_jas who have accepted such great wealth for the good of all men.
प्रस्तोकः । इत् । नु । राधसः । ते । इन्द्र । दश । कोशयीः । दश । वाजिनः । अदात् ।
6.061.01 She gave to the donor of the oblations, Vadhryas'va, a son Divoda_sa endowed with speed, and acquitting the debt (due to gods and progenitors), she who destroyed the churlis niggard, (thinking) only of himself, such are your bounties, Sarasvati_. (Divoda_sa: Vis.n.u Pura_n.a makes the father of Divoda_sa, Bahvas'va but this is a representation of the nameBandhyas'va; the churlish niggard: Pan.i is the obvious reference].
Divodāsa is mentioned in Rgveda Mandalas i, ii, iv, vi, vii Sudāsa, his son, gains the epithet Paijavana; hence, Divodāsa is also called Pijavana.
दिवोदासःdivodāsaḥ N. of a reputed Vedic king, father of सुदास; Rv.7.18.25. दिवो--दासm. (दि°) " heaven's slave " , N. of भरद्-वाज (celebrated for his liberality and protected by इन्द्र and the अश्विन्s RV. i , 112 , 14 ; 116 , 18 &c ; the son of वाध्र्य्-श्वRV. vi , 61 , 5 ; his father is also called भद्र-स्व , बह्व्-श्व &c , and his son मित्र-यु or मित्रा-युHariv. Pur. ); Name of the father of सु-दास्RV. vii , 18 , 28; of a king of काशि surnamed धन्वन्तरि , founder of the Indian school of medicine Sus3r.; of the father of प्र-तर्दनMBh. xiii Hariv. Pur.;of a descendant of भीम-सेनKa1t2h. vii अतिथिग्वःatithigvaḥ An epithet of Divodāsa whom the gods helped in overcoming Śambara. अतिथि--ग्वm. " to whom guests should go " , N. of दिवोदास and of another mythical hero RV.
Divodāsa Atithigva, also called Pijavana is the father or grandfather of Sudāsa.
Divodāsa is protected by Indra and the As'vins in the Rigveda, RV 1.112.14; 1.116.18).
वर्ध्रम् vardhram [वृध्-रन् Uṇ.2.27] 1 A leather strap or thong; संलक्ष्यपल्ययनवर्ध्रपदास्तुरङ्गाः
Śi.5.53;20.50;18.5. -2 Leather. -3 Lead.(Apte) वार्ध्र (ई)n. (fr. वर्ध्र) fit for straps (as a hide) Pa1n2. 5-1 , 15 Sch.; consisting of leather , leathern Pa1n2. 4-3 , 151;n. and f(ई). a leather thong (पञ्च-विंश-ब्राह्मण)
Patronymic connects Pratardana Daivodasi with Divodāsa, the ancestor of Sudāsa
Another son of Divodāsa of Kas'i is Pratardana. Divodasa is mentioned in the Kaus'itaki Upanishad A king of Kas'i surnamed Pratardanais also called Dyuman, S'atrujit, Vatsa, Ritadhvaja and Kuvalayas'va.
Divodāsa was invited to the As'vamedha Yajna performed by King Das'aratha of Ayodhya. He was the younger brother of Queen Sumitra and was a Brother-in-law of Das'aratha. He was also the son of King Bhimaratha and was a grandson of Lord Dhanvantari. Divodāsa narratives link up रामायण and महाभारत ? Are there two Divodāsa or only one?
Dhanvantari as per the hymn (RV 10.179.2), the founder of the Indian school of medicine called Ayurveda.
Could the date of Divodāsa be 5th m.BCE, coterminus with the date of Sri Rama?
प्रतर्दनःpratardanaḥ1 N. of the son of Divodāsa. -2 N. of one of Indra's disciples.
[quote]That Kasiraja Divodāsa Dhanvantari was a prehistoric figure derives support from the internal evidence provided, among others, by the Susrutasmhita, the Agnivesasamhita, the Carakasamhita, the Visnupurana and the Harivamsa. The Visnupurana and the Harivamsa have, between them, furnished credible and consistent genealogical accounts of the dynasty to which Kasiraja Divodāsa belonged.
Genealogical tree
(According to Visnupurana)
Pururava
Ksatravrdha
Kasa
Kasiraja
Dirghatama
Dhanvantari
Ketumana
Divodāsa
Pratardana
The genealogical accounts, referred to above, show that Kasiraja Divodāsa belonged to the royal line founded by Pururavas of the lunar dynasty. According to the Harivamsa, Kasiraja Divodasa belonged to the line of Anena who was himself a descendant of Pururavas. Kasya, referred to in the Visnupurana genealogy, represents the fifteenth generation from Anena; Dhanvantari the third from Kasya and Divodāsa the third form Dhanvantari. [unquote]Does Ayurveda Begin With Dhanvantari, The Ancient Physician By D.P. Agrawal
4 With your resistless weapons, IndraVaruna-, ye conquered Bheda and ye gave Sudāsa your aid.
अज Name of a class of ऋषिs MBh. अजaja N. of the ancestor of a warrior tribe, P.IV.1.171. अजm. a drove , troop (of मरुत्s) AV.; N. of इन्द्र , of रुद्र , of one of the मरुत्s ([अज्/अ /एक-प्/आRV. , and अज्/अ /एक-पादAV. ]), of अग्नि , of the sun , of ब्रह्मा , of विष्णु , of शिव , of काम (cf. 2. अ-ज); N. of a descendant of विश्वामित्र , and of दशरथ's or दीर्घबाहु's father; N. of a people RV. vii , 18 , 19
Aja are Sabara: ଅଜ— Aja Name of a fowler; an ancestor of Jārā Ṡabara. ଜରାଶବର— Jarāȧ ṡabara ସଂ. ବି— ଭାଗବତୋକ୍ତବ୍ଯାଧରନାମ— Name of a hunter mentioned in the Bhāgabata. ଓଡ଼ିଆ— Oṟḍ̠iā (ଓଡ଼ିଆଣୀ—ସ୍ତ୍ରୀ) [synonym(s): উড়য়া; উড়েउड़िया] ଦେ. ବି. (ସଂ. ଓଡ଼୍ର୍; ତାମିଲ୍; ଓଡ଼ଧାତୁ=ଚାଷକରିବା)— 1।ଓଡ଼ିଶାବାସୀବ୍ୟକ୍ତି; ଉତ୍କଳୀଯବ୍ୟକ୍ତି; ପୁରୁଷାନୁକ୍ରମେଉତ୍କଳରସ୍ଥାଯୀଅଧିବାସୀବ୍ୟକ୍ତି—1. An Oṟḍ̠iā a permanent resident of Oṟḍ̠iṡā. 2।ଉତ୍କଳୀଯଭାଷାବାସାହିତ୍ଯ— 2. The language or literature of Oṟḍ̠iṡā. ପ୍ରାଦେ. (ଖୋରଧାଓଗଦ୍ରାମ)— ଶୂଦ୍ରବାଚଷାଜାତିବିଶେଷ— A caste of Ṡūdras or cultivators. ପ୍ରାଦେ. (ସମ୍ବଲପୁର) ବି— 1।ଶବରଓଅଘରିଆମାନଙ୍କରଶ୍ରେଣୀବିଶେଷ— 1. A class of Ṡabaras and Aghariās. [ଦ୍ର—ଅନ୍ୟଶ୍ରେଣୀଲରିଆ।] 2।ଚଷାଜାତିବିଶେଷ— 2. A caste of cultivators. [ଦ୍ର—ଏମାନେଚାଷଓପଥରହଣାକାମକରନ୍ତି।ଏମାନଙ୍କମାତୃଭାଷାଓଡ଼ିଆ;ବ୍ରାହ୍ମଣଏମାନଙ୍କରପୁରୋହିତ।ଏମାନେମଦବାକୁକୁଡ଼ାଖାଆନ୍ତିନାହିଁ।ସମାଜରେଭୂଯାଁମାନଙ୍କରପରିଏମାନଙ୍କରସ୍ଥାନବାସମ୍ମାନଥାଏ।] 3।ଓଡ଼ିଆବ୍ରାହ୍ମଣ; ଶାସନୀବାଝାଡ଼ୁଆଙ୍କଠାରୁଉଚ୍ଚଶ୍ରେଣୀବ୍ରାହ୍ମଣ—3. A class of Brāhmaṇas in Sambalpur who are distinguished from the Jhāṟḍ̠uās. [ଦ୍ର—ଝାଡ଼ୁଆତଳେନୋଟ୍ଦେଖ।] ଦେ. ବିଣ.— ଓଡ଼ିଶାଦେଶବାଭାଷାସମ୍ବନ୍ଧୀଯ;ଉତ୍କଳୀଯ— Appertaining to Oṟḍ̠iṡā. ଢେଙ୍କା— Ḍheṅkā ଢେଂଙ୍କା, ଢେଁକାଅନ୍ୟରୂପଦେ. ବି.— 1।ଢେକା(ଦେଖ) 1. Dhekā (Se) 2।ଢିରା (ଦେଖ) 3. Name of a king of Sabara caste who ruled over the Dhenkanal State of Orissa in ancient times. ନାୟକ— Nāyaka A family-title of some Pāṇas and Ṡabaras. ଲରିଆ Lariā ...A sect of the 'Sabara' caste and of the Aghariā caste. ସାବରା Sābarā ସାବରା— Sābarāପ୍ରାଦେ. (ଗଞ୍ଜାମ) ବି(ଇଂ. ସଭରେନ୍)— ସ୍ବର୍ଣ୍ଣମୂଦ୍ରା— Sovereign (gold coin). ସ୍ଥପତି Sthapati ...Name of the Sabara friend of Rāma. 11।ସାରଥି(ହି. ଶ) 1. Charioteer. ବିଣ— 1।ପ୍ରଧାନ— 1. Chief; principal. 2।ଉତ୍ତମ; ଶ୍ରେଷ୍ଠ— 2. Excellent; best.ସାବରା ସୁନା Sābarā sunā ସାବରାସୁନା— Sābarā sunā ପ୍ରାଦେ(ଗଞ୍ଜାମ) ବି— ଇଂଲଣ୍ଡପ୍ରଚଳିତସ୍ବର୍ଣ୍ଣମୁଦ୍ରାରଉପାଦାନସ୍ବର୍ଣ୍ଣ—Sovereign-gold.
शिग्रुpl. N. of a people RV. Any connection ?-- सुsu(-क्ष्णः) 1 the Śigru tree. -2 N. of a sage; नाम्नासुतीक्ष्णश्चरितेनदान्तः R.13.41. तृत्सु “व्यानवस्यतृत्सवेगयम्” ऋ०७।१८।१३।तृत्सुंराजर्षिभेदम्” भा०।
RV 7.18. 7 Together came the Pakthas, the Bhalanas, the Alinas, the Sivas, the Visanins. Yet to the Trtsus came the Aryas' Comrade, through love of spoil and heroes' war, to lead them.
13 Indra at once with conquering might demolished all their strong places and their seven castles. The goods of Anus' son he gave to Trtsu. May we in sacrifice conquer scorned Puru. 14 The Anavas and Druhyus, seeking booty, have slept, the sixty hundred, yea, six thousand, And sixandsixty— heroes. For the pious were all these mighty exploits done by Indra. 15 These Trtsus under Indras' careful guidance came speeding like loosed waters rushing downward. The foemen, measuring exceeding closely, abandoned to Sudāsa all their provisions.
RV 7.83. 4 With your resistless weapons, IndraVaruna-, ye conquered Bheda and ye gave Sudāsa your aid. Ye heard the prayers of these amid the cries of war: effectual was the service of the Trtsus' priest. 5 O IndraVaruna-, the wickedness of foes and mine assailants' hatred sorely trouble me. Ye Twain are Lords of riches both of earth and heaven: so grant to us your aid on the decisive day. 6 The men of both the hosts invoked you in the fight, Indra and Varuna, that they might win the wealth, What time ye helped Sudāsa, with all the Trtsu folk, when the Ten Kings had pressed him down in their attack. 7 Ten Kings who worshipped not, O IndraVaruna-, confederate, in war prevailed not over Sudāsa. True was the boast of heroes sitting at the feast: so at their invocations Gods were on their side. 8 O IndraVaruna-, ye gave Sudāsa your aid when the Ten Kings in battle compassed him about, There where the whiterobed- Trtsus with their braided hair, skilled in song worshipped you with homage and with hymn.
सृञ्जय sṛñjaya, name of a people who defeated वर—शिख Name of an असुर whose family was destroyed by इन्द्र
सृंजयाःsṛñjayāḥm. pl. N. of a people (Apte)
Is Divodāsa the enemy of Sambara a person different from Divodāsa, father or grandfather or ancestor of Sudāsa? St. Petersburg Dictionary notes that there are two Divodāsa. Is this citation in the dictionary correct? There is another Divodāsa who is a descendant of Bhimasena mentioned in Kathaka Samhita.
शम्बरः, पुं, मृगविशेषः । दैत्यविशेषः । इतिमेदिनी ॥ (यथा, ऋग्वेदे । १ । ५१ । ६ ।“अरन्धयो तिथिग्वाय शम्बरम् ।”“शम्बरं एतन्नामानमसुरम् ।” इति तद्भाष्येसायणः ॥ यथा च महाभारते । १ । ६५ । २२ ।“शम्बरो नसुचिश्चैव पुलोमा चेति विश्रुतः ।असिलोमा च केशी च दुर्ज्जयश्चैव दानवः ॥”)मत्स्यविशेषः । शैवविशेषः । जिनभेदः । इतिविश्वः ॥ युद्धम् । श्रेष्ठः । इति धरणिः ॥चित्रकवृक्षः । लोध्रः । अर्ज्जुनवृक्षः । इतिराजनिर्घण्टः ॥ शम्बरासुरस्य वधोपाख्यानंश्रीभागवते १० स्कन्धे ५५ अध्याये द्रष्टव्यम् ॥ https://sa.wikisource.org/wikiशब्दकल्पद्रुमः
I submit that the enemy of Divodāsa is Ṡambara, also called Ṡabara in Aitareya Brahmana and classed as Dasyu, together with Andhra and others.
Divodāsa fights against: Ṡambara, TurvaṠa, Yadu and:(associates of Ṡambara who are: S'uSNa, Pipru, Varcin (connected with Vrcivant),
Divodāsa defeated Vrcivant who were also allies of TurvaṠa.
RV 6.45.1 notes that TurvaṠa, Yadu (combatants against Divodāsa) were brought from afar. This is a reference to the movement of people from Sarasvati River Basin towards Ganga-Yamuna doab.
RV 7.19.8 and RV 9.61.2 treats TurvaṠa, Yadu as combatants against Divodāsa, while
S'ambara, is seen as an ally of Turvasa, Yadu fighting against Divodāsa.
RV 6.45
RV9.61
RV 7.19
RV 6.45.1 Griffith: 1. THAT Indra is our youthful Friend, who with his trusty guidance led
Turvasa, Yadu from afar.
Wilson: 6.045.01 May that youthful Indra, who, by good guidance, brought Turvas'a and Yadu from afar, (be) our friend.
RV 9.61.2 Griffith: Smote swiftly forts, and S'ambara, then Yadu and that Turvasa,
For pious Divodāsa's sake.
Wilson: 9.061.02 (Which overturned) the cities in a moment, and for the sake of the devout Divodāsa (subdued) S'ambara, and then that Turvas'a and Yadu.
RV 7.19.8 Griffith: May we men, Maghavan, the friends thou lovest, near thee be joyful under thy protection.
Fain to fulfil the wish of Atithigva humble. the pride of Turvasa and Yadva. (Atithigva is Divodāsa)
Wilson: .7.019.08 May we, Maghavan, leaders in your adoration, regarded as dear friends, be happy in our homes; about to bestow felicity upon Atithigvan, humiliate Turvas'a; (humiliate) the son of Yadu.
Griffith: RV 6.27
5 In aid of Abhyavartin Cayamana, Indra destroyed the seed of Varasikha. At Hariyupiya he smote the vanguard of the Vrcivans, and the rear fled frighted. 6 Three thousand, mailed, in quest of fame, together, on the Yavyavati, O muchsought- Indra,Vrcivans' sons, falling before the arrow, like bursting vessels went to their destruction. Wilson: 6.027.05 Favouring Abhya_vartin, the son of Ca_yama_na, Indra destroyed the varas'ikha (people), killng the descendants of Vr.ci_vat, (who were stationed) on the Hariyu_pi_ya, on the eastern part, while the western (troop) was scattered through fear. [Abhya_vartin, Ca_yama_na: names of ra_ja_s. Vr.ci_vat is the first-born of the sons of varas'ikha, thereafter others are named. Hariyu_pi_ya is the name of either a river or a city]. 6.027.06 Indra, the invoked of many, thirty hundred mailed warriors (were collected) together on the Yavya_vati_, to acquire glory, but the Vr.ci_vats advancing in a hostile manner, and breaking the sacrificial vessels, went to (their own) annihilation. [Thirty hundred: trim.s'ac chatam varmin.ah = trim.s'ada dhikas'atam, one hundred and thirty; kavacabhr.tas, wearers of breasplates or armour; yavya_vati_ = same as hariyu_pi_ya].
सृञ्जयsṛñjaya m. N.: pl. N. of a family or tribe. (Macdonell) Somaka Sahadevya ('descendant of Sahadeva) is the name of a king of sṛñjaya people. His priests are Parvata and Narada.
देव--रात" god-given " , N. of शुनः-शेप after being received into the family of विश्वा-मित्रAitBr. vii , 17 MBh. &c (pl. his descendants Pravar. );N. of a king who was the son of सु-केतु and descendant of निमिR. Pur.; of a king who was son of करम्भिPur.; of another king MBh. ii , 121; of परिक्षित्BhP.; of the father of याज्ञवल्क्य ib. xii , 6 , 64 (cf. दैव-राति) (Monier-Williams)
शुनःशेपःśunaḥśepaḥ, शुनःशेफःśunaḥśephaḥ N. of a Vedic sage, son of Ajīgarta. [In the Aitareya Brāhmaṇa it is related that king Hariśchandra, being childless, made a vow that on obtaining a son he would sacrifice him to the god Varuṇa. A son was born who was named Rohita, but the king put off the fulfilment of the vow under various pretexts. At last Rohita purchased for one hundred cows Śunahśepa, the middle son of Ajīgarta as a substitute for himself to be offered to Varuṇa. But the boy praised Viṣṇu, Indra, and other deities, and escaped death. He was then adopted by Viṣvāmitra in his own family and called by the name Devarāta.] (Apte)
शुनस्gen. of श्वन् in comp.श्वन्(nom. sg. du. pl. श्वा , श्वानौ , श्वानस् ; weakest base शुन् cf. 2. शुन &c , p.1082 ; in some comp. श्वा for श्व cf. below) , a dog , hound , cur RV. [cf. Zd. spa1 ; Lat. canis ;Lit. szu4 ; Goth. hunds ; Eng. hound ; Germ. Hund]शेपa tail (cf. परु-च्छेप , शु-नः-शेप) RV. [cf. Lat. cippus.]
अ-जीगर्त" that has nothing to swallow " , N. of a ऋषि , शुनः-शेप's father (Monier-Williams)
दैव--वात(ई)n. relating to देव-वात (RV); patr. of शृञ्जय (ibid.)देव--वातN. of a man ib. iii , 23 , 2; (°व्/अ-) agreeable to the gods RV. (Monieer-Williams)
देववात पु० देवैर्वातः वा--गतिगन्धयोः कर्मणि क्त ३ त० । देवैरिष्यमाणतया प्राप्ते ऋषिभेदे ।“अमन्थिष्टां भारता रेवदग्निं देवश्रवा देववातः सुदक्षम्”ऋ० ३ । २३ । २ ।
दिवो--दासm. (दि°) " heaven's slave " , N. of भरद्-वाज (celebrated for his liberality and protected by इन्द्र and the अश्विन्s RV. i , 112 , 14 ; 116 , 18 &c ; the son of वाध्र्य्-श्व RV. vi , 61 , 5 ; his father is also called भद्र-स्व , बह्व्-श्व &c , and his son मित्र-यु or मित्रा-यु Hariv. Pur. ); of the father of सु-दास् RV. vii , 18 , 28; of a king of काशि surnamed धन्वन्तरि , founder of the Indian school of medicine Sus3r.; of the father of प्र-तर्दन MBh. xiii Hariv. Pur.; f a descendant of भीम-सेन Ka1t2h. vii &c (Monier-Williams)
वध्र्य्-श्व was the father of Divodāsa; N. of a man RV. Br. &c (in Pan5cavBr. he has the patr. अनूप); pl. the family of वाध्र्य्-श्व S3rS. (cf. वाध्र्यश्व and ब्रध्नश्व) (Monier-Williams)
शब्दकल्पद्रुमः identifies दिवोदासः, as काशीराजः, a King of Kas'i वाचस्पत्यम् is emphatic, identifying Divodāsa as the son of वध्र-श्व and Menaka; this encyclopaedic text also cites Harivams'a text and links him with Rama and Ahalya: दिवोदासपु०दिवःस्वर्गातदामीदानंयस्मै।वध्रश्वस्यपुत्रभेदे“वध्रश्वान्मिथुनंयज्ञेमेनकायामितिश्रुतिः।दिवोद्रामश्चराजर्षिरहल्याचयशस्विनी” हरिवं०३२अ०।मनुर्वश्येरिपुञ्जयास्व्ये
यवन पु० यु--यु । १ देशभेदे सोऽभिजनोऽस्य तस्य राजा वाअण् बहुषु तस्य लुक् । २ तद्देशस्थेषु जनेषु ३ तन्नृपेषुब० व० । ४ वेगे ५ अधिवेगयुताश्वे मेदि० ६ गोधूमे ७ गर्जर-तृणे ८ तुरष्कजातौ राजनि० ययातिशप्तम्य तत्पुत्रस्यतुर्वसोर्षश्ये जातिभेदे च पुंस्त्री० स्त्रियां ङीष् ।१० वेगवति त्रि० ।यवनप्रिय न० ६ त० । मरिचे हेमच० । https://sa.wikisource.org/wiki/वाचस्पत्यम्
कुत्स N. of a ऋषि (called आर्जुनेय , author of several hymns of the RV. ; when attacked by the demon शुष्ण , इन्द्र defended him and killed the demon ; but in other hymns [ RV. i , 53 , 10 ; ii , 14 , 7 ; iv , 26 , 1 ; viii , 53 , 2] कुत्स is represented as persecuted by इन्द्र) RV. AV. iv , 29 , 5 Ta1n2d2yaBr. pl. ( Pa1n2. 2-4 , 65) the descendants or the family of कुत्स RV. vii , 25 , 5 La1t2y.(Monier-Williams)
तूर्वयाणtūrvayāṇa, तूर्विtūrvia.1 Quick, rapid. -2 Overpowering; रक्षोअग्निमशुषंतूर्वयाणम् Rv.1.174.3. -3 (तूर्वि) Superior; वावृधानायतूर्वये Rv.9.42.3. तूर्वयाणmfn. ( √ तुर्व्) overpowering RV. i , 174 , 3 ; x , 61 , 2; m. N. of a man , i , 53 , 10 ; vi , 18 , 13. (Monier-Williams)
नमुचिःnamuciḥ [न मुञ्चति] 1 N. of a demon slain by Indra; वनमुचे नमुचेररये शिरः R.9.22. [When Indra conquered the Asuras, there was only one called Namuchi who strongly resisted and at last captured him. He offered to let Indra go provided he promised 'not to kill by day or by night, with wet or dry'. Indra promised to do so and was released, but he cut off Namuchi's head at twilight and with foam of water (which is neither wet nor dry). According to another version Namuchi was a friend of Indra, and once drank up his strength and made him quite imbecile. The Aśvins (and Sarasvatī also, as the story goes) then supplied Indra with a Vajra with which he cut off the demon's head]. -2 N. of the god of love. -Comp. -सूदनः, -द्विष्, -हन्m. epithets of Indra; विगृह्य चक्रे नमुचिद्विषा बली य इत्थमस्वास्थ्यमहर्निशं दिवः Śi.1.51.
In the Maha Samaya Sutta, Mara (also known as Namuci or the "Dark One") is the defeated antagonist of the Buddha. He is described as a corrupted Asura, whose army consisted of "Sensual passions, Discontent, Hunger and Thirst, Craving, Sloth and Drowsiness, Terror, Uncertainty, Hypocrisy and Stubbornness, Gains, Offerings, Fame and Status wrongly gained, and whoever would praise self and disparage others" (Sn 3.2 Padhana Sutta).
Griffith RV 5.29.11 The lauds of Gauriviti made thee mighty to Vidathins' son, as prey, thou gavest Pipru.
Rjisivan drew thee into friendship dressing the sacred food, and thou hast drunk his Soma.
Wilson :5.029.11 May the praises of Gaurivi_ti exalt you; you have humbled Pipru for the son of Vidathin; R.jis'van preparing dressed viands, has, through your friendship brought you (to his presence), and you have drunk of his libation.
The combatants arrayed in the dāśarājñá are communities of people settled in the civilizational area, people such as Paṇi पणि merchants
watching over treasures RV. (esp. x , 108) (AV. शतपथ-ब्राह्मण).पणिः paṇiḥ पणिः f. A market; A bargainer; धरां रजःस्वभावेन पणयो ये च ताननु Bhāg.3.6.28; paṇitṛ पणितृ m. A trader, dealer. (Apte)
RV 6.61.12 refers to five peoples' groups or communities as pañcajātā on the Sarasvati River system (with seven tributaries or streams):
"Sevensistered-, sprung from threefold source, the Five Tribes' prosperer, she must be Invoked in every deed of might.".
The reference to five tribes or peoples signifies the presence of human settlements on the banks of River Sarasvatī.
Archaeology attests archaeological sites of dates between 7th millennium BCE to 1900 BCE along the Sarasvatī River Basin (About over 80% of all 3700+ sites of the Sarasvatī -Sindhu civilization are accounted for in the region clustered around the Sarasvatī River).
हरि-यूपीया is f. name of a locality (RV); यव्या-वती is f. name of a river or a district (RV. ताण्ड्य-ब्राह्मण)
Since the scene of two battle fronts of dāśarājñá are the Yamunā and Paruṣṇī (Ravi) rivers, यव्या-वती may refer to either be a descriptive synonym of दृषद्--वती river which had a large number of human settlements. A remarkably well-furrowed, ploughed field has been discovered at Kalibangan archaeological site on दृषद्--वती river.
Fig. 6. Map showing a correlation between the Rigvedic area and the spread of the Harappan Civilization, before 2000 BCE.
Fig. 7. Kalibangan : An agricultural field, showing criss-cross pattern of furrows. Circa 2000 BCE.
Fig. 8. and Fig. 9. Around Kalibangan village. Left: The present system of ploughing the field,which also has the criss-cross pattern of furrows. Right: A present field with mustard plants in the widely-distanced furrows and those of chickpea in the others.
"The excavation at Kalibangan has brought to light an agricultural field dating back to circa 2800 BCE. It is characterised by a criss-cross pattern of the furrows (Fig. 7). Exactly the same pattern of ploughing the fields is followed even today in northern Rajasthan (Fig. 8), Haryana and western Uttar Pradesh. Today mustard is grown in the widely‑distanced furrows and chickpea in the narrower ones (Fig. 9) and it is most likely that these very crops were grown in a similar manner during the Harappan times; we do have evidence of both these items from the Harappan levels." (BB Lal, Why perpetuate myths? A fresh look at Ancient Indian History, Lecture given at the NCERT, New Delhi)
Five peoples may also be a reference to Purus, Anus, Druhyus, Yadus and Tursvasas who lived in the Sarasvati Valley before moving onto different places in various directions.
A vivid metaphor to signify Sarasvatī is hiraṇyavartanī. The word हिरण्य signifies:n. (ifc. f(आ). ; prob. connected with हरि , हरित् , हिरि) gold (orig. " uncoined gold or other precious metal " ; in later language " coined gold " -or " money ") RV वर्तनी signifies f. " grinding " or " despatching " (= पेषण or प्र्/एषण).
Thus, the expression hiraṇyavartanī signifies that River Sarasvati groun down gold placer deposits in the river bed.
The licences given to gold-panners on the riverbed of Sarasvati in Lohardaga attests to the fact the waters of Sarasvatī carried placer gold deposits. Districts of Panchkula, Ambala and Yamunanagar contain traces of placer gold. http://adeptinstrument.co.in/2015/May-23/ghaggar-river-high-gold-mining/ District administrations issue licenses to pan for placer gold deposits.
RV 6.61.7 Yea, this divine Sarasvati, terrible with her golden path, Foeslayer-, claims our eulogy.
Sārasvatas: 3.4.8 सारस्वत'mf(ई)n. relating or belonging to सरस्वत् (q.v.) or to सरस्वती (the river or the goddess) derived or coming from them RV.', 'belonging to the सारस्वत country MBh',
m. (pl.) 'N. of a people dwelling on the सरस्वती river (i.e. in the north-west part of the province of Delhi including part of the Panjab)' AV.Paris3. MBh. VarBr2S. Pur. भारती'the Sanskrit speech of an actor' (Monier-Williams)
Dynamic Himalaya is subject to the ongoing thrust and collision of continental plates. Plate tectonic events related to the ongoing thrust and collision resulted in creating Yamuna Tear Fault and Satluj Tear Fault in Sivalik ranges.
Sunset. Mt. Kailas. Metaphor of Hindu traditions is that Mahes’vara is on the summit of Mt. Kailas. Metaphor of life-giving waters, hence perpetual abhishkam is performed on s’ivalinga. Another metaphor sees Ganga emerging out of the mattedd locks of the Supreme Divinity. A third metaphor is a Cosmic Dancer seen at CERN, Switzerland.
The following map shows S’atadru (Satluj) as a tributary of River Sarasvati flowing through the Ghaggar River channel, joining at Shatrana. The joining of S’atadru tributary waters and Sarsuti waters at Shatrana made the ancient (palaeo-) channel of Sarasvati River as wide as 20 kms.
Archaeological evidence shows that many of the settlements in the Sarasvati-Sindhu Civilisation (yellow triangles) developed along the banks of a river called the Ghaggar-Hakra (dark blue) in northwest India and Pakistan. The map also shows how Satluj River had flowed southwards at Ropar (near the Satluj river exit of Sivalik ranges) to join Ghaggar-Hakra palaeochannel.
This map also shows how Palaeo-Yamuna channels flowed through Drishadvati River which joined Satluj-Ghaggar-Hakra Palaeo-channel at Kalibangan. A palaeo-channel of Drishadvari River close to River explains how Rakhigarhi archaeological site had access to the full potential of the navigable waterway of Sarasvati River right upto Rann of Kutch and beyond through the Persian Gulf and Tigris-Euphrates into Mesopotamia.
Trace of Ghaggar–Hakra palaeochannel on northwestern Indo–Gangetic plain. a Background shows Landsat 5 TM colour composite mosaic (bands 456). The Ghaggar–Hakra palaeochannel is visible as a sinuous, dark blue feature. Location of GS core sites adjacent to the Indus urban centre of Kalibangan, along with core sites at KNL1, MNK6, and SRH5, are also indicated. Location of key Indus urban settlements indicated by triangles. b Geomorphological map showing major alluvial landforms in the study region. Ch, Chandigarh; HFT Himalayan frontal thrust
Topography of Satluj–Yamuna plains showing modern Himalayan rivers occupy incised valleys. a Detrended relative elevation map, derived from SRTM 30 m DEM (2014 release), showing courses of the modern Satluj, Beas and Yamuna rivers confined to regionally extensive incised valleys eroded into alluvial deposits of the Indo–Gangetic basin. Confinement prevents the rivers from readily avulsing across older fluvial fan surfaces. White box indicates area of detailed image in b. bDetail from Landsat 5 TM colour composite mosaic in Fig. 2 showing modern Satluj incised valley near its outlet at Himalayan mountain front. Inferred palaeo-Satluj course that joins Ghaggar–Hakra palaeochannel, a former Satluj incised valley, is indicated, as is the likely river avulsion node.
Figure 6.1B. What are petty streams in the foothills of the Siwalik Hills (such as the Sarsuti, Markanda, Ghaggar, Patiali, etc.) join to become an extraordinarily wide water course marked by moist sediment supporting vegetation of the Ghaggar as this satellite image brings out. Notice that the Ghaggar breaks up into two channels before disappearing into the sands of the Thar Desert. The northern channel gives way to the Hakra in Bahawalpur (Cholistan, Pakistan) [Landsat ETM + FCC mosaic]. One palaeo-channel (likely channel through which Yamuna River of Vedic time) flowing through Hissar (close to Rakhigarhi) joins the Satluj-Ghaggar-Hakra palaeo-channels south of Pilibangan.
As the following elaborated drawing shows the sites of Ropar, Kunal, Banawali and Kalibangan were located on the Satluj-Ghaggar-Hakra Palaeo-channel, augmented with the waters of the Satluj Palaeochannels which flowed southwards from Ropar.
This explains how, these sites, Ropar, Kunal, Banawali, and Kalibangan could use the full potential of the navigable waterway of River Sarasvati which linked these sites to the Rann of Kutch and onwards through Persian Gulf into the Tigris-Euphrates doab in Mesopotamia.
Courtesy: KS Valdiya
Figure 6.2. The broadly linear pattern of the distribution of the Harappan settlements (older than 5500 yr B.P. to about 3300 yr B.P.) coincides with the now waterless, sand-choked, extraordinarily wide channel of the Ghaggar–Hakra–Nara [From Valdiya, 2002].
Among the settlements is Ganweriwala, (Fig.6.2) the second biggest metropolis of the time. About 5 m below the Hakra bed the 100 m thick sand body in the Fort Abbas reach point to its deposition by a large perennial river (Mughal, 1995). The U-Pb zircon dating demonstrates that the channel was active until about 4500 years B.P. (Clift et al., 2012). Samples of sediments close to the archaeological sites show similarities with the sediments of both the Beas and the Satluj rivers in the west and the Yamuna River in the east (Clift et al., 2012). Giosan et al., (2012) concede that the Yamuna may have contributed sediments to the Hakra before the Mature Harappan time, for they recovered 5300-year old sandy flood deposit at Fort Abbas. In other words, there are tell-tale evidence of the Himalayan rivers Satluj and the Yamuna flowing through the channel of the Ghaggar–Hakra until the Harappan times (Valdiya, 2016). http://jalshakti-dowr.gov.in/sites/default/files/PalaeochannelExpertCommittee_15thOct2016_0.pdf(p.75)
The dramatic 90-degree migration of River Satluj at Ropar abandoning Sarasvati, ca. 1900 BCE and the eastward migration of River Yamuna are explained by the Cosmic Dance tāṇḍava nr̥tyam of the Collison of two continents resulting in the formation and evolution of the young mountain ranges of the Himalayas.
Sculpture. Belur
VaIdiya notes: "The more than 5200 km long mountain chain, bordering the Indian subcontinent isolates it securely from the rest of Eurasia. Rivers Indus and Brahmputa hold the lofty rampart in their sweeping embrace." (Valdiya, K.S., 1998, Dynamic Himalaya, Universities Press, Hyderabad).
The dynamism of the Himalayas is related to Plate Tectonics.
कुमार्संभवं
अस्त्युत्तरस्यांदिशिहिमालयोनामनगाधिराजः
पूर्वापरौतोयनिधीवगाःयस्थितः
पर्थिव्याइवमानदण्डः
A royal mountain named Himalaya lies in the northern direction. Carrying the treasure of water from east to west stands the king like a measuring rod of the earth.
Kalidasa starts his Kumarasambhavam, narrative of the birth of Skanda the son of Siva and Parvati and invokes the Kailasanatha who is in penance over Mt. Kailas by first remembering the sheer majesty of the Himalayan ranges as the wate-treasure, toyanidhi. This glacial water reservoir is the source of major river systems of the world which waters the fields to feed about 3 billion people through Yangtse, Huanghe, Mekong, Irawaddy, Salween, Brahmaputra Tsangpo, Ganga, Sarasvati, Sindhu. The mountain range is dynamic growing higher by 1 cm every year as the Indian plate like varaaha lifts up the Eurasian plate explaining the orogeny. As monsoon waters fall in heights above 8000 ft. above sea level, they get frozen into snow and ice with glacier storage trickling down as torrents.
Isn't it significant that national poet Kalidasa does not first talk about Siva or Parvati or even about Skanda but reminds us about Himalaya the water-source?
This life-giving, water-giving natural phenomenon where Siva meditates is the inspiration for the Jyotirlinga of Bharatam Janam who continuously do abhishekam with water over the sacred stones in memory of the water-giving divinity.
Birth of the King of Mountains
Main Boundary Thrust, Main Central Thrust (MCT) and other faults.“Inclined 30 degrees to 45 degrees northwards. MCT is a wide zone of extremely severe deformation characterized by mutually overlapping masses of rocks piled one upon another, like the tiles of a roof…Diversion of the even flow of winds and creation of large cool areas caused snowfall on the elevated mountains in the Himadri (the perennially snow-capped extremely rugged Greater Himalaya). Terrane and the Pir Panjal-Dhauladhar ranges. While the Siwalik and Lesser Himalayan terranes were beaten and washed by heavy rains, in the lofty Himadri packs of snow and ice grew thicker and thicker. The ‘Abode of Snows’, the Himalaya, thus came into existence.” (ibid.)
Present geological understanding of the Dynamic Himalayas is best presented in a scientific report by US Geological Survey.https://pubs.usgs.gov/gip/dynamic/himalaya.htmlExcerpted in full as follows:
The Himalayas: Two continents collide
Among the most dramatic and visible creations of plate-tectonic forces are the lofty Himalayas, which stretch 2,900 km along the border between India and Tibet. This immense mountain range began to form between 40 and 50 million years ago, when two large landmasses, India and Eurasia, driven by plate movement, collided. Because both these continental landmasses have about the same rock density, one plate could not be subducted under the other. The pressure of the impinging plates could only be relieved by thrusting skyward, contorting the collision zone, and forming the jagged Himalayan peaks.
About 225 million years ago, India was a large island still situated off the Australian coast, and a vast ocean (called Tethys Sea) separated India from the Asian continent. When Pangaea broke apart about 200 million years ago, India began to forge northward. By studying the history -- and ultimately the closing-- of the Tethys, scientists have reconstructed India's northward journey. About 80 million years ago, India was located roughly 6,400 km south of the Asian continent, moving northward at a rate of about 9 m a century. When India rammed into Asia about 40 to 50 million years ago, its northward advance slowed by about half. The collision and associated decrease in the rate of plate movement are interpreted to mark the beginning of the rapid uplift of the Himalayas. Artist's conception of the 6,000-km-plus northward journey of the "India" landmass (Indian Plate) before its collision with Asia (Eurasian Plate). Solid lines indicate present-day continents in the Indian Ocean region, but no geologic data exist to determine the exact size and shape of the tectonic plates before their present-day configurations. The dashed outlines for the "India" landmass are given for visual reference only, to show the inferred approximate locations of its interior part in the geologic past. The "India" landmass was once situated well south of the Equator, but its northern margins began to collide against the southward-moving Eurasian Plate about 40 to 50 million years ago (see text).
The Himalayas and the Tibetan Plateau to the north have risen very rapidly. In just 50 million years, peaks such as Mt. Everest have risen to heights of more than 9 km. The impinging of the two landmasses has yet to end. The Himalayas continue to rise more than 1 cm a year -- a growth rate of 10 km in a million years! If that is so, why aren't the Himalayas even higher? Scientists believe that the Eurasian Plate may now be stretching out rather than thrusting up, and such stretching would result in some subsidence due to gravity.
Sunset view of towering, snow-capped Mt. Everest, from the village of Lobuche (Solu-khumbu), Nepal. (Photograph by Gimmy Park Li.)
Fifty kilometers north of Lhasa (the capital of Tibet), scientists found layers of pink sandstone containing grains of magnetic minerals (magnetite) that have recorded the pattern of the Earth's flip-flopping magnetic field. These sandstones also contain plant and animal fossils that were deposited when the Tethys Sea periodically flooded the region. The study of these fossils has revealed not only their geologic age but also the type of environment and climate in which they formed. For example, such studies indicate that the fossils lived under a relatively mild, wet environment about 105 million years ago, when Tibet was closer to the equator. Today, Tibet's climate is much more arid, reflecting the region's uplift and northward shift of nearly 2,000 km. Fossils found in the sandstone layers offer dramatic evidence of the climate change in the Tibetan region due to plate movement over the past 100 million years.
At present, the movement of India continues to put enormous pressure on the Asian continent, and Tibet in turn presses on the landmass to the north that is hemming it in. The net effect of plate-tectonics forces acting on this geologically complicated region is to squeeze parts of Asia eastward toward the Pacific Ocean. One serious consequence of these processes is a deadly "domino" effect: tremendous stresses build up within the Earth's crust, which are relieved periodically by earthquakes along the numerous faults that scar the landscape. Some of the world's most destructive earthquakes in history are related to continuing tectonic processes that began some 50 million years ago when the Indian and Eurasian continents first met.
Understanding plat motions
Scientists now have a fairly good understanding of how the plates move and how such movements relate to earthquake activity. Most movement occurs along narrow zones between plates where the results of plate-tectonic forces are most evident.
There are four types of plate boundaries:
Divergent boundaries -- where new crust is generated as the plates pull away from each other.
Convergent boundaries -- where crust is destroyed as one plate dives under another.
Transform boundaries -- where crust is neither produced nor destroyed as the plates slide horizontally past each other.
Plate boundary zones -- broad belts in which boundaries are not well defined and the effects of plate interaction are unclear.
…Continental-continental convergence
The Himalayan mountain range dramatically demonstrates one of the most visible and spectacular consequences of plate tectonics. When two continents meet head-on, neither is subducted because the continental rocks are relatively light and, like two colliding icebergs, resist downward motion. Instead, the crust tends to buckle and be pushed upward or sideways. The collision of India into Asia 50 million years ago caused the Indian and Eurasian Plates to crumple up along the collision zone. After the collision, the slow continuous convergence of these two plates over millions of years pushed up the Himalayas and the Tibetan Plateau to their present heights. Most of this growth occurred during the past 10 million years. The Himalayas, towering as high as 8,854 m above sea level, form the highest continental mountains in the world. Moreover, the neighboring Tibetan Plateau, at an average elevation of about 4,600 m, is higher than all the peaks in the Alps except for Mont Blanc and Monte Rosa, and is well above the summits of most mountains in the United States. Above: The collision between the Indian and Eurasian plates has pushed up the Himalayas and the Tibetan Plateau. Below: Cartoon cross sections showing the meeting of these two plates before and after their collision. The reference points (small squares) show the amount of uplift of an imaginary point in the Earth's crust during this mountain-building process.
Postseismic deformation and stress changes following the 1819 Rann of Kachchh, India earthquake: Was the 2001 Bhuj earthquake a triggered event?
Geophysical Research Letters
By: A. To, R. Burgmann, and F. Pollitz
Abstract
The 2001 Mw 7.6 Bhuj earthquake occurred in an intraplate region with rather unusual active seismicity, including an earlier major earthquake, the 1819 Rann of Kachchh earthquake (M7.7). We examine if static coseismic and transient postseismic deformation following the 1819 earthquake contributed to the enhanced seismicity in the region and the occurrence of the 2001 Bhuj earthquake, ???100 km away and almost two centuries later. Based on the Indian shield setting, great rupture depth of the 2001 event and lack of significant early postseismic deformation measured following the 2001 event, we infer that little viscous relaxation occurs in the lower crust and choose an upper mantle effective viscosity of 1019 Pas. The predicted Coulomb failure stress (DCFS) on the rupture plane of the 2001 event increased by more than 0.1 bar at 20 km depth, which is a small but possibly significant amount. Stress change from the 1819 event may have also affected the occurrence of other historic earthquakes in this region. We also evaluate the postseismic deformation and ??CFS in this region due to the 2001 event. Positive ??CFS from the 2001 event occur to the NW and SE of the Bhuj earthquake rupture.
The Mw 7.7 Bhuj earthquake: Global lessons for earthquake hazard in intra-plate regions
Journal of the Geological Society of India
By: E. Schweig, J. Gomberg, Mark D. Petersen, M. Ellis, P. Bodin, L. Mayrose, and B.K. Rastogi
Abstract
The Mw 7.7 Bhuj earthquake occurred in the Kachchh District of the State of Gujarat, India on 26 January 2001, and was one of the most damaging intraplate earthquakes ever recorded. This earthquake is in many ways similar to the three great New Madrid earthquakes that occurred in the central United States in 1811-1812, An Indo-US team is studying the similarities and differences of these sequences in order to learn lessons for earthquake hazard in intraplate regions. Herein we present some preliminary conclusions from that study. Both the Kutch and New Madrid regions have rift type geotectonic setting. In both regions the strain rates are of the order of 10-9/yr and attenuation of seismic waves as inferred from observations of intensity and liquefaction are low. These strain rates predict recurrence intervals for Bhuj or New Madrid sized earthquakes of several thousand years or more. In contrast, intervals estimated from paleoseismic studies and from other independent data are significantly shorter, probably hundreds of years. All these observations together may suggest that earthquakes relax high ambient stresses that are locally concentrated by rheologic heterogeneities, rather than loading by plate-tectonic forces. The latter model generally underlies basic assumptions made in earthquake hazard assessment, that the long-term average rate of energy released by earthquakes is determined by the tectonic loading rate, which thus implies an inherent average periodicity of earthquake occurrence. Interpreting the observations in terms of the former model therefore may require re-examining the basic assumptions of hazard assessment.
A media-based assessment of damage and ground motions from the January 26th, 2001 M 7.6 Bhuj, India earthquake
Abstract
We compiled available news and internet accounts of damage and other effects from the 26th January, 2001, Bhuj earthquake, and interpreted them to obtain modified Mercalli intensities at over 200 locations throughout the Indian subcontinent. These values are used to map the intensity distribution using a simple mathematical interpolation method. The maps reveal several interesting features. Within the Kachchh region, the most heavily damaged villages are concentrated towards the western edge of the inferred fault, consistent with western directivity. Significant sediment-induced amplification is also suggested at a number of locations around the Gulf of Kachchh to the south of the epicenter. Away from the Kachchh region intensities were clearly amplified significantly in areas that are along rivers, within deltas, or on coastal alluvium such as mud flats and salt pans. In addition we use fault rupture parameters inferred from teleseismic data to predict shaking intensity at distances of 0-1000 km. We then convert the predicted hard rock ground motion parameters to MMI using a relationship (derived from internet-based intensity surveys) that assigns MMI based on the average effects in a region. The predicted MMIs are typically lower by 1-2 units than those estimated from news accounts. This discrepancy is generally consistent with the expected effect of sediment response, but it could also reflect other factors such as a tendency for media accounts to focus on the most dramatic damage, rather than the average effects. Our modeling results also suggest, however, that the Bhuj earthquake generated more high-frequency shaking than is expected for earthquakes of similar magnitude in California, and may therefore have been especially damaging.
The 26 January 2001 M 7.6 Bhuj, India, earthquake: Observed and predicted ground motions
Abstract
Although local and regional instrumental recordings of the devastating 26, January 2001, Bhuj earthquake are sparse, the distribution of macroseismic effects can provide important constraints on the mainshock ground motions. We compiled available news accounts describing damage and other effects and interpreted them to obtain modified Mercalli intensities (MMIs) at >200 locations throughout the Indian subcontinent. These values are then used to map the intensity distribution throughout the subcontinent using a simple mathematical interpolation method. Although preliminary, the maps reveal several interesting features. Within the Kachchh region, the most heavily damaged villages are concentrated toward the western edge of the inferred fault, consistent with western directivity. Significant sediment-induced amplification is also suggested at a number of locations around the Gulf of Kachchh to the south of the epicenter. Away from the Kachchh region, intensities were clearly amplified significantly in areas that are along rivers, within deltas, or on coastal alluvium, such as mudflats and salt pans. In addition, we use fault-rupture parameters inferred from teleseismic data to predict shaking intensity at distances of 0-1000 km. We then convert the predicted hard-rock ground-motion parameters to MMI by using a relationship (derived from Internet-based intensity surveys) that assigns MMI based on the average effects in a region. The predicted MMIs are typically lower by 1-3 units than those estimated from news accounts, although they do predict near-field ground motions of approximately 80%g and potentially damaging ground motions on hard-rock sites to distances of approximately 300 km. For the most part, this discrepancy is consistent with the expected effect of sediment response, but it could also reflect other factors, such as unusually high building vulnerability in the Bhuj region and a tendency for media accounts to focus on the most dramatic damage, rather than the average effects. The discrepancy may also be partly attributable to the inadequacy of the empirical relationship between MMI and peak ground acceleration (PGA), when applied to India. The MMI-PGA relationship was developed using data from California earthquakes, which might have a systematically different stress drop and therefore, a different frequency content than intraplate events. When a relationship between response spectra and MMI is used, we obtain larger predicted MMI values, in better agreement with the observations.
The expression राष्ट्री Mother Nation occurs in Rgveda Devi Sukta RV 10.125 which reads: अहंराष्ट्रीसंगमनीवसूनांचिकितुषीप्रथमायज्ञियानाम्।‘I am the Mother Nation, the accumulator and mover of wealths and the most distinguished, thoughtful, first of those who merit worship. RV 8.56.5 explains the meaning of cikitu: अचेत्यग्निश्चिकितुर्हव्यवाटससुमद्रथः Rv.8.56.5: Wilson translation: The shining Agni has appeared, the bearer of the oblation, with his chariot; Agni has gleamed forth brilliantly with his bright flame as Sura, he has gleamed forth in heaven as Surya.सायणभाष्यम् elaborates the meaning of cikitu as चिकितुःचेतनावतोयजमानस्य।, i.e.as conspicuous, distinguished; knowing, understanding, reasonable as Niruktam explains:
Roots of Gold standard are laid, ca. 7thmillennium BCE in Sarasvati-Sindhu or Bhāratīya Civilization, and the Economic history of Ancient India unfolds.
Sarasvatī River is adored in the Rgveda as hiranyavartanī, ‘having a path of gold’:सरस्वतीघोराहिरण्यवर्तनिः (RV, 6.61.7) In addition to this being a metaphoric account of the glory of the river, in a place called Lohgarh on the banks of Sarasvatī River, in Sivalik ranges, Yamunanagar Dist., Haryana, even today gold panning licences are used to gold panniers searching for gold nodules flowing in the Sarasvati streams from the Himalayas. For millennia, the river has been recognized as a bestower of wealth and annam,‘food’ (using the expression वाजिनीवति which is explained by Sayana as अन्नवति‘abounding in food or victuals , especially boiled rice’. These are clearest references to the river as the wealth-giving divinity for the people who live on her banks. Hence, she gets adored with the metaphor of ‘ambitame, greatest of mothers’ who sustained and nurtured a civilization (RV .2.41.16).
The majesty of the Himalayan river is matched by the adoration of Dynamic Himalaya which is a growing, greatest Water Reservoir of the Globe quenching the thirst of over 2 billion people with the sacred waters of नगाधिराज‘Emperor of Mountains’. This Naga, ‘mountain’ is moving, dynamic because the formation by the collision of India and Europe continental plates is ongoing as the Indian plate moves northwards at the rate of 6 cms. per year and lifts up the Eurasian plate by 1 cm every year, making it the only undiminishing, growing water reservoir of the globe, despite glacial melts and global warming. The Northern Monsoon lashes across the 5200 km. Himalayan range storing water in the reservoir in the form of snow and ice.
Storage of water occurs as snow and ice occurs at heights between 8000 ft and over 24000 ft. of Mt. Sagarmata (also called Everest, 29,029 ft.) and Mt. Karakoram Kw (28,251 ft.) Nepali: Sagarmathaसगरमाथा (a variant pronunciation of sǎgara mǎtǎ, a brilliant metaphor‘mother of oceans’ and a pun on the word mǎthǎ‘head, roof, summit’ N. māth ʻ head ʼ, māthi ʻ above ʼ (whence māthilo ʻ upper ʼ); A. māth, māthā ʻ head ʼ, EB. māthā, B. mātā ODBL 441, Or. mātha, mathā; Mth. māth, ˚thā, mã̄th, ˚thā ʻ head, thick end of sole of plough ʼ; Bhoj. māth ʻ head ʼ; Aw.lakh. māth ʻ forehead ʼ; H. māth, ˚thā m., ˚thī f.,
mã̄th, ˚thā m. ʻ head, forehead, summit ʼ; Marw. mātho m. ʻ head, forehead ʼ; G. māthũ n. ʻ brain, forehead, head, summit ʼ; M. māthā m. ʻ head ʼ, Ko. māthẽ n.; Si. mat -- a ʻhead, summitʼ (CDIAL 9926); Tibetan: Chomolungmaཇོ་མོ་གླང་མ; Chinese: Zhumulangma珠穆朗玛)- the ‘roof of the world’ lies to the west of the deepest trench in the ocean, Philippine Trench (10,497 m water depth); Baltoro glacier in the Central Karakoram. "Karakoram" is a Turkic word referencing the mountains' black gravel. The Tibetan name is Qomolangma (ཇོ་མོ་གླང་མ, lit. "Holy Mother"). The name was first recorded with a Chinese transcription on the 1721 Kangxi Atlas, and then appeared as Tchoumour Lancma on a 1733 map published in Paris by the French geographer D'Anville based on the former map. It is also popularly romanised as Chomolungma and as Jo-mo-glang-ma. The official Chinese transcription is 珠穆朗玛峰(t珠穆朗瑪峰), whose pinyin form is Zhūmùlǎngmǎ Fēng. It is also infrequently simply translated into Chinese as Shèngmǔ Fēng(t聖母峰,s圣母峰, lit. "Holy Mother Peak"). Many other local names exist, including "Deodungha" ("Holy Mountain") in Darjeeling.
Geological map of the Indus catchment in northern Pakistan (modified from P
ê
cher et al. [34]).Geological units, from north to south: Karakorum belt: 1: northern sedimentary belt; 2: axial batholithand other granitoid rocks; 3: southern metamorphic belt; 4: felsic gneiss; 5: Masherbrum GreenstoneComplex.Shyok suture zone: 6: mostly terrigeneous strata; 7: mélange zone (mainly volcanic rocks);8: ultramafic rocks (Shyok and Dobani-Dassu lineament).Kohistan and Ladakh arcs: 9: PaleogeneChalt (Kohistan) and Khardung (Ladakh) volcanic rocks, Turmik volcaniclastic rocks; 10: undifferentiated
Traps; 23: Greater Himalayan neometamorphic rocks; 24: Paleozoic intrusives; 25: mainly Paleoproterozoicorthogneiss; 26: Besham metaigneous rocks.Lesser Himalaya: 27: Paleozoic-Eocene strata; 28: upper nappe(mostly Mesoproterozoic metasedimentary rocks); 29: lower nappe (mostly Neoproterozoic and Paleozoicmetasedimentary rocks); 30: Salt Range (Neoproterozoic to Eocene Indian margin strata).Sub-Himalaya:31: Muree and Subathu formations (Cenozoic); 32: Siwalik Group (Neogene); 33: Peshawar and Srinagar
Quaternary intramontane basins. West Pakistan Belt: 34: Sulaiman Range.
Abstract “As a Quaternary repository of wind-reworked Indus River sand at the entry point in the Himalayan foreland basin, the Thal Desert in northern Pakistan stores mineralogical information useful to trace erosion patterns across the western Himalayan syntaxis and the adjacent orogenic segments that fed detritus into the Indus delta and huge deep-sea fan throughout the Neogene. Provenance analysis of Thal Desert sand was carried out by applying optical and semi-automated Raman spectroscopy on heavy-mineral suites of four eolian and 11 fluvial sand samples collected in selected tributaries draining one specific tectonic domain each in the upper Indus catchment. In each sample, the different types of amphibole, garnet, epidote and pyroxene grains—the four dominant heavy-mineral species in orogenic sediment worldwide—were characterized by SEM-EDS spectroscopy. The chemical composition of 4249 grains was thus determined. Heavy-mineral concentration, the relative proportion of heavy-mineral species, and their minerochemical fingerprints indicate that the Kohistan arc has played the principal role as a source, especially of pyroxene and epidote. Within the western Himalayan syntaxis undergoing rapid exhumation, the Southern Karakorum belt drained by the Hispar River and the Nanga Parbat massif were revealed as important sources of garnet, amphibole, and possibly epidote. Sediment supply from the Greater Himalaya, Lesser Himalaya, and Subhimalaya is dominant only for Punjab tributaries that join the Indus River downstream and do not contribute sand to the Thal Desert. The detailed compositional fingerprint of Thal Desert sand, if contrasted with that of lower course tributaries exclusively draining the Himalaya, provides a semi-actualistic key to be used, in conjunction with complementary provenance datasets and geological information, to reconstruct changes in paleodrainage and unravel the relationship between climatic and tectonic forces that controlled the erosional evolution of the western Himalayan-Karakorum orogen in space and time.”
minerals
Article
Multimineral Fingerprinting of Transhimalayan and
Himalayan Sources of Indus-Derived Thal Desert
Sand (Central Pakistan)
Wendong Liang *, Eduardo Garzanti * , Sergio Andò, Paolo Gentile and Alberto Resentini
Multimineral Fingerprinting of Transhimalayan and Himalayan Sources of Indus-Derived Thal Desert Sand (Central Pakistan)
Wendong Liang, Eduardo Garzanti, Sergio Ando, Paolo Gentile, and Alberto Rosentini
Multimineral Fingerprinting of Transhimalayan and
Himalayan Sources of Indus-Derived Thal Desert
Sand (Central Pakistan)
Wendong Liang *, Eduardo Garzanti * , Sergio Andò, Paolo Gentile and Alberto Resentini
Laboratory for Provenance Studies, Department of Earth and Environmental Sciences, University of Milano-Bicocca, Piazza della Scienza 4, 20126 Milano, Italy
Counter-intuitive influence of Himalayan river morphodynamics on Indus Civilisation urban settlements -- Ajit Singh et al. 28 Nov. 2017
Topographic map showing northwestern India and Pakistan, key Himalayan rivers and the distribution of urban-phase Indus Civilisation settlements. Note how Indus urban-phase settlements are not necessarily located along modern Himalayan river courses. The most prominent cluster of sites occurs located on the drainage divide between the Satluj and Yamuna rivers, an area devoid of perennial Himalayan drainage. Base digital elevation map is derived from NASA Shuttle Radar Topography Mission (SRTM)53. Site locations are from the compilation of urban-phase Indus settlement locations collated in Possehl86. Inset locates figure in south Asia
Trace of Ghaggar–Hakra palaeochannel on northwestern Indo–Gangetic plain. a Background shows Landsat 5 TM colour composite mosaic (bands 456). The Ghaggar–Hakra palaeochannel is visible as a sinuous, dark blue feature. Location of GS core sites adjacent to the Indus urban centre of Kalibangan, along with core sites at KNL1, MNK6, and SRH5, are also indicated. Location of key Indus urban settlements indicated by triangles. b Geomorphological map showing major alluvial landforms in the study region. Ch, Chandigarh; HFT Himalayan frontal thrust
Topography of Ghaggar–Hakra palaeochannel. a Detrended relative elevation map of Satluj–Yamuna drainage divide, derived from NASA Shuttle Radar Topography Mission (SRTM)53 30 m DEM (2014 release) showing that Ghaggar–Hakra palaeochannel forms an incised valley. b Corresponding TM colour composite image (detail of Fig. 2) showing correspondence of Ghaggar–Hakra palaeochannel and incised valley. Locations of urban-phase Indus settlements along Ghaggar–Hakra palaeochannel are indicated.
Locations of core sites along Ghaggar–Hakra palaeochannel. Background images are derived from Landsat 5 TM colour composite satellite mosaic shown in Fig. 2. White circles show locations of cores with relationship to Ghaggar–Hakra palaeochannel (dark blue tone). Course of modern ephemeral Ghaggar River is indicated in yellow. a Vicinity of Kalibangan Indus urban centre showing locations of cores GS14, GS13, GS7, GS10 and GS11. Location of Thar Desert modern dune sample also indicated. b Location of core KNL1. Urban-phase Indus archaeological sites in area are indicated by white triangles. c Location of core MNK6. Locations of all drill sites tabulated in Supplementary Table 1
Topography of Satluj–Yamuna plains showing modern Himalayan rivers occupy incised valleys. a Detrended relative elevation map, derived from SRTM 30 m DEM (2014 release), showing courses of the modern Satluj, Beas and Yamuna rivers confined to regionally extensive incised valleys eroded into alluvial deposits of the Indo–Gangetic basin. Confinement prevents the rivers from readily avulsing across older fluvial fan surfaces. White box indicates area of detailed image in b. bDetail from Landsat 5 TM colour composite mosaic in Fig. 2 showing modern Satluj incised valley near its outlet at Himalayan mountain front. Inferred palaeo-Satluj course that joins Ghaggar–Hakra palaeochannel, a former Satluj incised valley, is indicated, as is the likely river avulsion node
Plate tectonics, the collision of two continents -- the Indian and Eurasian plates -- result in the dynamic Himalaya which results from the Indian continental plate thrusting into and uplifting the Eurasian plate.
The Main Central Thrust moves northwards, away from the Equator, at a speed of about 6cms. every year.
This explains the formation and evolution of Himalaya as the youngest mountain range in the world, growing in height by 1 cm. every year as the Main Central Thrust pushes into and lifts up the Eurasian plate. One Sarasvati-Sindhu Civilization metaphor for this thrust, pushing and lifting up is the वराहः varāha, Divine Boar incarnate of the Supreme Divine, Paramātman. The snout of the boar is called चषालः caṣālaḥ. AThis word is of special significance in the performance of Veda Yajna; चषालः caṣālaḥ is a ring made of wheat chaff and mounted on the top of a sacrificial post; चषालंयेअश्वयूपायतक्षति Rv.1.162.6; चषालयूपतच्छन्नोहिरण्यरशनंविभुः Bhāg.4.19.19. -2 An iron ring at the base of the post. -3 A hive. As the post, the pillar, yupa goes up in flames, the fumes of the wheat chaff enter the element carbon into molten metal to transform iron into steel. This knowledge system signified by the sculptural protome of Devi Sarasvati on the चषालः caṣālaḥ,snout of the boar. (See Khajuraho temple and breathtaking metaphors on the pratimāof the divnity). The entire body is adorned with sculptural friezes of Veda divinities, blacksmiths, artisans, seafaring merchants of the Civilization.
Mother of Rivers, River Sarasvati is born as this extraordinary collision of two continents unfolds like a Cosmic dance. In Sarasvati-Sindhu Hindu civilization tradition the Cosmic Dance is called ताण्डव tāṇḍava नृत्यम् nṛtyam portrayed in sculptural metaphors. See the bronze sculpture of the Cosmic Dancer who adorns CERN, the European Organization for Nuclear Research, Switzerland.
World’s Greatest Water Tower which nurtures over 2 billion people with fresh, sacred waters, stretches from Hanoi to Caucasus, west of Tehran and Zagros mountains. The Reservoir holds about 2000 growing glaciers on the Northern side and 1500 growing glaciers on the Southern Indian side.The glaciers are growing because the Northern Monsoon rains which fall on these mountain ranges convert to snow and ice above the height of over 8000 ft. The Himalayn ranges rise upto 24000 ft. high, constituting the highest mountain peaks of the world such as Sagar Mata [Nepalese. Also known as Mt. Everest; 8,848 m (29,029 ft)] and Mt. Karakoram K2 [8,611 m (28,251 ft)]. The glaciers yield more than five largest rivers of the globe: Yangtse,Huanghe, Mekong, Irrawaddy, Salween, Brahmaputra, Ganga, Yamuna, Sarasvati, Satluj, Sindhu
Earthquakes caused by these continental plates explain the dynamic rise of the Himalayas across the stretch of over 5200 kms. and also explain the changes in the flows of Himalayan glacier rivers which result in migrations of two major tributaries of River Sarasvati. Satluj, a tributary of Sarasvati migrates westwards at Ropar. Yamuna, a tributary of Sarasvati migrates eastwards close to the Capital of the Civilization, Rakhigarhi, the pattana, the transhipment point between 1. West-flowing navigable Sarasvati River and 2. East-flowing Ganga-Yamuna-Brahmaputra rivers.
The 6,000-kilometre-plus (3,700 mi) journey from about 70 million years ago. of the India landmass (Indian Plate) before its collision with Asia (Eurasian Plate)
Name of Marathi language in Telugu lexicon (Brown)
ఆరెముāremu. [Mahr.] n. The name for Mahratta. ఆరెకాపులు a certain class of farmers. ఆరెలిపి Mahratta writing ఆరెలెక్కలు accounts written in Mahratta. ఆరెము or ఆరెభాష The Mahratta language.
The 'rice-plant' hieroglyph is ligatured to upraised arm: eraka 'upraised arm' rebus: eraka 'metal infusion,metal casting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, metal infusion smithy, forge. The standing person has hair-knots which are semantic determinatives: Ta. koṇtai tuft, dressing of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane), round top. Ma. koṇṭa tuft of hair. Ko. goṇḍ knob on end of walking-stick, head of pin; koṇḍ knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (< Badaga koṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair on the crown of the head. Cf. 2049 Ta. koṭi. / Cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-), Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft.(DEDR 2081) rebus: koṇḍa 'pit with live coals, sacred altar'.
Steatite seal, intaglio. White fired steatite with a white core. Red speckling on interior below glaze level, slightly speckled on surface. Grinding marks visible on surface. Fragment of writing and top of animal motif remain - 2 or 3 signs are partially visible and 1 sign is complete (~”N”). The man with a double-bun hair style may be holding a trident or simply raising his hand. The animal motif is probably a tiger because of the multiple strokes. Anthropomorphic sign and animal direction facing to left (in impression) are rare.
Comment by SK:
The animal is a 'unicorn' with a prominent ear and rings on neck commonly shown on thousands of 'one-horned young bull' field symbols on inscriptions.