Does this indicate migration of Indo-Aryan speakers who had cremation practices, into Western Eurasian Steppes?
Archaeological evidence for cremation practices in Samara Valley, Western Eurasian Steppes (2016)
New light on Indus Script -- Form and Function Section 1 Roots of Gold Standard Section 2 Defining Bhāratiya sprachbund
Shahi Tump cire perdue copper alloy shell and Mehrgarh bronze spoked wheels with Indus Script date to 5th millennium BCE
Six remarkable examples of Indus Script hieroglyphs are 1) on Mehrgarh cire perdue (lost-wax casting) bronze (copper alloy) 5 mm dia. objects of spoked-wheels and 2) on Shahi Tump 4th millennium BCE lead weight of 13.5 kgs whose copper shell
Rehman Dheri, Khyber Pakhtunkhwa province
Rehman Dheri. Button-seal in bone, ca. 3200 to 3000 BCE
Decipherment of Indus script hieroglyphs:
Signs:
Arrow: kāṇḍa 'arrowhead' Rebus: kaṇḍ 'fire-altar' (Santali) rebus: khāṇḍa kāṇḍa 'tools, pots and pans and metal-ware' (Marathi);
Slanted stroke:dhāḷ 'slanted stroke' rebus: dhāḷako 'large ingot' Rebus: ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- .1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. ˚le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. ˚lã) f., P. ḍhāl f., G. M. ḍhāl f.Addenda: ḍhāla -- . 2. *ḍhāllā -- : WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f.*ḍhālla -- ʻ shield ʼ (CDIAL 5583)
Field symbols:
miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (G.)(CDIAL 10120) mẽḍhā m. 'markhor'.(CDIAL 10310) Rebus: mẽṛhẽt, mẽḍh, meḍ 'iron' (Santali.Ho.Mu.) dula 'pair' rebus: dul 'metal casting'.Alternative: tagaru ‘ram’ (Tulu) Rebus: tagarm ‘tin’ (Kota). damgar ‘merchant’ (Akk.)
mūxā ‘frog’. Rebus: mũh ‘(copper) ingot’ mũha 'ingot' mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes. (Santali)
bicha 'scorpion' rebus: bica 'haematite, ferrite ore' The signifier of 'scorpion by the vocable bichā (Assamese) as spoken form of vṛšcika (Samskrtam) is an indicator of the mleccha (meluhha) mispronunciations which are commented upon by Patanjali. In Marathi,
Harappa, Ravi Phase, ca. 33000 – 2800 BCE Button seal in Animal Bone with Swastika motif Decipherment: Svastika: svasti f. ʻ good fortune ʼ RV. [
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).(Kannada) satthiya ‘svastika glyph’; rebus: satthiya ‘zinc’, jasta ‘zinc’ (Kashmiri), satva, ‘zinc’ (Pkt.)
Harappa (HARP 1996). Post-firing graffiti, potsherd with three signs Decipherment; kolmo 'rice plant' kolom 'three (rice plants' rebus: kolimi 'smithy, forge'. The sign clearly shows five petals and hence signifies tagaraka 'tabernae montana' rebus: tagara 'tin ore'.. Thus, counting three identical signs of tabernae montana five-petalled flower, the composition signifies tin smithy.
Harappa, Kot Diji phase, ca. 2800-2600 BCE Stamp seals in fired and glazed steatite Decipherment: Dotted circle: The word धावड is an expression composed of two hieroglyphs: dhāī 'dot' and vaṭṭa.'circle'. Thus together read धावड which yields rebus Meluhha meaning: smelter of iron.
Hieroglyph: circle: vaṭṭa.: 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. [√
Hieroglyph: dhāī strand or wisp: dot or one in dice throw: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. 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); -- 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) 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)
Harappa, Clay sealing with earliest Indus Script Signs on a Seal. The clearly identifiable sign is a 'ladder' hieroglyph. This is read rebus: śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, Members of the guild (working with a furnace). [Alternative: panǰā́r ‘ladder, stairs’ (Bshk.)(CDIAL 7760) Rebus: pasra ‘smithy’ (Santali)]
Lewan Dheri, Bannu Basin, Clay Sealing with Early Indus Seal. The geometric motif on the seal impression suggests U sign 'rimless pot' within an L enclosure and is repeated by flipping the image vertically. The rebus reading is: 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' rebus: baṭa 'iron' , bhaṭa 'furnace'. Thus, iron furnace. Two iron furnaces are signified back-to-back.
Map showing the main sites of Middle Asia in the third millennium BCE(whorls indicate the presence of Indus and Indus-like seals bearing multiple heads of different animals arranged in whirl-like motif)
Massimo Vidale and Dennys Frenez,2015, Indus components in the iconography of a White Marble Cylinder seal from Konar Sandal South (Kerman, Iran), in: South Asian Studies, 2015, Vol. 31, No. 1, 144-154 http://dx.doi.org/10.1080/026660030.2015.1008820
Meluhha hieroglyphs:
karaḍa ‘panther’ Rebus: karaḍa ‘hard alloy’. mlekh ‘goat’ Rebus: milakkhu ‘copper’ (Pali)
http://bharatkalyan97.blogspot.in/2014/04/revisiting-cire-perdue-in.html
http://bharatkalyan97.blogspot.in/2015/02/maritime-meluhha-tin-road-links-far.html
Mehergarh. 2.2 cm dia. 5 mm reference scale. Perhaps coppper alloyed with lead. [quote]Bourgarit and Mille (Bourgarit D., Mille B. 2007. Les premiers objets métalliques ont-ils été fabriqués par des métallurgistes ? L’actualité Chimique . Octobre-Novembre 2007 – n° 312-313:54-60) have reported the finding (probably in the later still unreported excavation period) of small Chalcolithic “amulets” which they claim to have been produced by the process of Lost Wax. According to them, “The levels of the fifth millennium Chalcolithic at Mehrgarh have delivered a few amulets in shape of a minute wheel, while the technological study showed that they were made by a process of lost wax casting. The ring and the spokes were modelled in wax which was then coated by a refractory mould that was heated to remove the wax. Finally, the molten metal was cast in place of the wax. Metallographic examination confirmed that it was indeed an object obtained by casting (dendrite microstructure). This discovery is quite unique because it is the earliest attestation of this technique in the world.” They then, further on, state that “The development of this new technique of lost wax led to another invention, the development of alloys…Davey (Davey C. 2009.The Early History of Lost-Wax Casting, in J. Mei and Th. Rehren (eds), Metallurgy and Civilisation: Eurasia and Beyond Archetype, pp. 147-154. London: Archetype Publications Ltd.) relies only upon these Mehrgarh findings , as well as on the Nahal Mishmar hoard, to claim that Lost Wax casting began in the Chalcolithic period before 4000 BCE.” [unquote] (Shlomo Guil) https://www.academia.edu/5689136/Reflections_Upon_Accepted_Dating_of_the_Prestige_Items_of_Nahal_Mishmar
Shahi Tump. Kech valley, Makran division, Baluchistan, Pakistan (After Fig. 1 in Thomas et al)Benoit Mille calls the bronze stamps of Shahi-Tump ‘amulets’ (made from copper alloyed with lead). Mehrgarh is well recognised as a centre for early pyrotechnologies.The wax models of the stamps would have been solid and may have had a simple core inserted.This is perhaps the first stage in the technology:”Small copper-base wheel-shaped “amulets” have been unearthed from the Early Chalcolithic levels at Mehrgarh in Balochistan (Pakistan), dating from the late fifth millennium B.C. Visual and metallographic examinations prove their production by a lost-wax process—the earliest evidence so far for this metalworking technique. Although a gap of more than 500 years exists between these ornaments from Mehrgarh and the later lost-wax casts known in the Indo-Iranian world, the technological and compositional links between these artefacts indicate a similar tradition. We already know that the lost-wax process was commonly used during the second half of the fourth millenium B.C, as exemplified by figurative pinheads and compartmented seals, the latter of which were produced and distributed across the region until the early second millennium B.C. Most, if not all, of these artefacts were made using the lost-wax technique. This intensive practice of lost-wax lasting certainly stimulated the technical development of the process, allowing the elaboration of more complex and heavier objects. The “Leopards Weight” (Balochistan, late fourth or early third millennium B.C.) is one of the best examples of these developments: the lost-wax copper jacket, with its opened hollow shape, constitutes an extraordinary technical achievement.(Mille, B., Bourgarit, D., and Besenval, R. 2005. ‘Metallurgical study of the ‘Leopards weight’ from Shahi-Tump (Pakistan)’, in C. Jarrige and V. Lefevre, eds., South Asian Archaeology 2001, Editions Recherches sur les Civilisations, Paris: 237-44) True hollow casting does not appear until the third millennium B.C., as illustrated by the manufacture of statuettes, including the Nausharo bull figurine (Balochistan, 2300–2100 B.C.), or those from BMAC sites in Central Asia (based upon analyses of items in the Louvre collections). The birth of the lost-wax casting process can also be paralleled with the first emergence of alloying in South Asia, as many of these early lost-wax cast artefacts were made of a copper-lead alloy (c. 10–40 wt% Pb and up to 4 wt% As). Significantly, it seems that the copper-lead alloy was solely dedicated to artefacts made using the lost-wax technique, a choice no doubt driven by the advantageous casting properties of such an alloy.” (Mille, Benoit, On the origin of lost-wax casting and alloying in the Indo-Iranian world, in: Lloyd Weeks, 2007, The 2007 Early Iranian metallurgy workshop at the University of Nottingham)
Mille, B., D. Bourgarit, JF Haquet, R. Besenval, From the 7th to the 2nd millennium BCE in Balochistan (Pakistan): the development of copper metallurgy before and during the Indus Civilisation, South Asian Archaeology, 2001, C. Jarrige & V. Lefevre, eds., Editions Recherches sur les Civilisations, Paris, 2005.)
“Benoit Mille has drawn attention to copper alloy ‘amulets’ discovered in the early Chalcolithic (late 5th millennium) levels of Mehrgarh in Baluchistan, Pakistan. He reported that metallographic examination established that the ornaments were cast by the lost-wax method (Mille, B., 2006, ‘On the origin of lost-wax casting and alloying in the Indo-Iranian world’, in Metallurgy and Civilisation: 6th international conference on the beginnings of the use of metals and alloys, University of Science and Technology, Beijing, BUMA VI). The amulets were made from copper alloyed with lead. Mehrgarh is well recognised as a centre for early pyrotechnologies. The wax models of the amulets would have been solid and may have had a simple core inserted. This is understandably the first stage in the technology. Mille also draws attention to the ‘Leopards weights’ from Baluchistan, dating to about 3000 BCE which were made using a complex core keyed into the investment mould.”(Davey, Christopher J., The early history of lost-wax casting, in: J. Mei and Th. Rehren, eds., Metallurgy and Civilisation: Eurasia and Beyond Archetype, London, 2009, ISBN 1234 5678 9 1011, pp. 147-154; p. 151).
Remarkable evidences of the excellence achived in cire perdue metal catings are provided by bronze or copper alloy artifacts kept in the British Museum, said to have been acquired from Begram, and dated to ca. 2000 to 1500 BCE.
Found/Acquired: Begram (Asia,Afghanistan,Kabul (province),Begram)
- Fabrègues: Together with 1880.3710.b-c, the object belongs to the large class of compartmented seals. Such partitioned seals are characteristic of the Bactria-Margiana Archaeological Complex (BMAC, also known as the Oxus Civilization), the modern archaeological designation for a Bronze Age culture located along the upper Amu Darya (Oxus River) in present-day Turkmenistan, Afghanistan, southern Uzbekistan and western Tajikistan. The BMAC may have extended as far as southern Afghanistan and Baluchistan, which have also yielded artefacts typical of the culture.
Copper alloy.
- Found/Acquired: Begram
- (Asia,Afghanistan,Kabul (province),Begram)
Cast, copper alloy, circular, openwork seal or stamp, comprising five wide spokes with projecting rims, radiating from a circular hub also encircled by a flange. The outer rim is mostly missing and two spokes are broken. The back is flat, with the remains of a broken attachment loop in the centre.
1880.3710.a IM.Metal.154: ‘6 bronze stamps for impressing designs’.
- Fabrègues: Together with 1880.3710.b-c, the object belongs to the large class of compartmented seals. Such partitioned seals are characteristic of the Bactria-Margiana Archaeological Complex (BMAC, also known as the Oxus Civilization), the modern archaeological designation for a Bronze Age culture located along the upper Amu Darya (Oxus River) in present-day Turkmenistan, Afghanistan, southern Uzbekistan and western Tajikistan. The BMAC may have extended as far as southern Afghanistan and Baluchistan, which have also yielded artefacts typical of the culture.
High spatial dynamics-photoluminescence imaging reveals the metallurgy of the earliest lost-wax cast object
- Nature Communications7, Article number: 13356 (2016)
- doi:10.1038/ncomms13356
- Download Citation
Received:
01 March 2016
Accepted:
26 September 2016
Published online:
15 November 2016
Abstract
Photoluminescence spectroscopy is a key method to monitor defects in semiconductors from nanophotonics to solar cell systems. Paradoxically, its great sensitivity to small variations of local environment becomes a handicap for heterogeneous systems, such as are encountered in environmental, medical, ancient materials sciences and engineering. Here we demonstrate that a novel full-field photoluminescence imaging approach allows accessing the spatial distribution of crystal defect fluctuations at the crystallite level across centimetre-wide fields of view. This capacity is illustrated in archaeology and material sciences. The coexistence of two hitherto indistinguishable non-stoichiometric cuprous oxide phases is revealed in a 6,000-year-old amulet from Mehrgarh (Baluchistan, Pakistan), identified as the oldest known artefact made by lost-wax casting and providing a better understanding of this fundamental invention. Low-concentration crystal defect fluctuations are readily mapped within ZnO nanowires. High spatial dynamics-photoluminescence imaging holds great promise for the characterization of bulk heterogeneous systems across multiple disciplines.
śaryaṇāvat lake, Soma-vat on Vedic River Sarasvati, decoding metaphors in Dadhyanc episode
ययुर्निचक्रया नरः ॥२९॥
yvk.3.5 | [3] the sage, Dadhyanc, Son of Atharvan, doth kindle, Slayer of Vrtra, destroyer of forts. |
yvk.4.1 | hThee the sage, Dadhyanc, Son |
yvk.5.1 | Thee the sage, Dadhyanc he says; Dadhyanc, son of Atharvan, was full of brilliance; verily he bestows brilliance upon him. |
yvk.5.6 | c Atharvan is Prajapati; Dadhyanc Atharvana is the fire, his bones are the bricks; as to that the seer says, Indra with the bones of Dadhyanc |
ययुर्निचक्रया नरः ॥२९॥
Narrative of Dadhici or Dadhyang, son of Atharvan; Veda metaphors of Dadhyanc Atharvana is the fire, his bones are the bricks (Kr̥ṣṇa Yajurveda 5.6)
The Geographical Journal
Vol. 49, No. 4 (Apr., 1917), pp. 308-312 (5 pages)
Published by: The Royal Geographical Society (with the Institute of British Geographers) https://www.jstor.org/stable/1779605
I agree with Sir Aurel Stein's suggestion that
23 Those pressed among Arjikas, pressed among the active, in mens' homes,
Or pressed among the Races Five-
Wilson translation RV IX.60.22-23. May these soma juices which are effused at a distance or nigh or on this Saryanavant (lake) – or among the Rajikas, or the Krtvas, or in the neighbourhood of the rivers’ Sarasvati etc. or in five castes.
Various views are expressed on the location of śaryaṇā-vat lake:
[ quote][unquote]Subodh Kaopoor, 2002, Encyclopaedia of Ancient Indian Geography, Volume 2Genesis Publishing Pvt Ltd, 2002 , p.56 |
At Saryanavan what he sought.
Griffith VIII.7.29 Susoma, Saryanavan, and Arjika full of homes, have they.
These Heroes, sought with downward car.Griffith RV VIII.53 10 For thee among mankind, among the Purus is this Soma shed.Hasten thou hither: drink thereof.
11 This, growing by Soma and by Saryanavan, dear to thee,In Arjikiya, cheers thee best.12 Hasten thou hitherward, and drink this for munificence today-,Delightful for thine eager draught.In Arjikiya, cheers thee best.
Effused with ardour and with faith, and the true hymn of sacrifice. Flow, Indu, flow for Indras'
sake.
Mother Streams.
For innocence we pray to Surya and to Dawn. So may the flowing Soma bring us bliss today-.
Griffith RV VIII.6 HYMN VI Indra 6
1. INDRA, great in his power and might, and like Parjanya rich in rain,
Is magnified by Vatsas' lauds.
2 When the priests, strengthening the Son of Holy Law, present their gifts,
Singers with Orders' hymn of praiser.
3 Since Kanvas with their lauds have made Indra complete the sacrifice.
Words are their own appropriate arms.
4 Before his hot displeasure all the peoples, all the men, bow down,
As rivers bow them to the sea.
5 This power of his shone brightly forth when Indra brought together, like
A skin, the worlds of heaven and earth.
6 The fiercelymoving- Vrtras' head he severed with his thunderbolt,
His mighty hundredknotted- bolt.
7 Here arewe- sing them loudly forthour- thoughts amongthe- best of songs.
Even lightnings like the blaze of fire.
8 When bidden thoughts, spontaneously advancing, glow, and with the stream
Of sacrifice the Kanvas shine.
9 Indra, may we obtain that wealth in horses and in herds of cows,
And prayer that may be noticed first.
10 I from my Father have received deep knowledge of the Holy Law
I was born like unto the Sun.
11 After the lore of ancient time I make, like Kanva, beauteous songs,
And Indras' selfgains strength thereby.
12 Whatever Rsis have not praised thee, Indra, or have lauded thee,
By me exalted wax thou strong.
13 When his wrath thundered, when he rent Vrtra to pieces, limb by limb,
He sent the waters to the sea.
14 Against the Dasyu gusna thou, Indra, didst hurl thy during bolt:
Thou, Dread one, hast a heros' fame.
15 Neither the heavens nor firmaments nor regions of the earth contain
Indra, the Thunderer with his might.
16 O Indra him who lay at length staying thy copious waters thou,
In his own footsteps, smotest down
17 Thou hiddest deep in darkness itim, O Indra, who had set his grasp
On spacious heaven and earth conjoined.
18 Indra, whatever Yatis and Bhrgus have offered praise to thee,
Listen, thou Mighty, to my call.
19 Indra, these spotted cows yield thee their butter and the milky draught;
Aiders, thereby, of sacrifice;
20 Which, teeming, have received thee as a lifegerm-, Indra, with their mouth,
Like Surya who sustaineth all.
21 O Lord of Might, with hymns of praise the Kanvas have increased thy power,
The drops poured forth have strengthened thee.
22 Under thy guidance, Indra, mid thy praises, Lord of Thunder, shall
The sacrifice be soon performed.
23 Indra, disclose much food for us, like a stronghold with store of kine:
Give progeny and heroic strength.
24 And, Indra, grant us all that wealth of fleet steeds which shone bright of old
Among the tribes of Nahusas.
25 Hither thou seemest to attract heavens' fold which shines before our eyes,
When, Indra, thou art kind to us.
26 Yea, when thou puttest forth thy power, Indra, thou governest the folk.
Mighty, unlimited in strength.
27 The tribes who bring oblations call to thee, to thee to give them help,
With drops to thee who spreadest far.
28 There where the mountains downward slope, there by the meeting of the streams
The Sage was manifest with song.
29 Thence, marking, from his lofty place downward he looks upon the sea,
And thence with rapid stir he moves.
30 Then, verify, they see the light refulgent of primeval seed,
Kindled on yonder side of heaven.
31 Indra, the Kanvas all exalt thy wisdom and thy manly power,
And, Mightiest! thine heroic strength.
32 Accept this eulogy of mine, Indra, and guard me carefully:
Strengthen my thought and prosper it.
33 For thee, O Mighty, Thunderarmed-, we singers through devotionhave
Fashioned the hymn that we may live.
34 To Indra have the Kanvas sung, like waters speeding down a slope:
The song is fain to go to him.
35 As rivers swell the ocean, so our hymns of praise make Indra strong,
Eternal, of resistIess wrath.
36 Come with thy lovely Bay Steeds, come to us from regions far away
O Indra, drink this Soma juice.
37 Best slayer of Vrtras, men whose sacred grass is ready trimmed
Invoke thee for the gain of spoil.
38 The heavens and earth come after thee as the wheel follows Etasa:
To thee flow Somadrops- effused.
39 Rejoice, O Indra, in the light, rejoice in Saryanayan, be Glad in the sacrificers' hymn.
40 Grown strong in heaven, the Thunderarmed- hath bellowed, Vrtraslayer-, Bull,
Chief drinker of the Soma juice.
41 Thou art a Rsi born of old, sole Ruler over all by might:
Thou, Indra, guardest well our wealth.
42 May thy Bay Steeds with beauteous backs, a hundred, bring thee to the feast,
Bring thee to these our Somadraughts-.
43 The Kanvas with their hymns of praise have magnified this ancient thought
That swells with streams of meath and oil.
44 Mid mightiest Gods let mortal man choose Indra at the sacrifice,
Indra, whoever would win, for help.
45 Thy steeds, by Priyamedhas praised, shall bring thee, God whom all invoke,
Hither to drink the Somajuice.
46 A hundred thousand have I gained from Parsu, from Tirindira,
And presents of the Yadavas.
47 Ten thousand head of kine, and steeds three times a hundred they bestowed
On Pajra for the Samasong-.
48 Kakuha hath reached up to heaven, bestowing buffaloes yoked in fours,
And matched in fame the Yadavas.
[quote] Harivamsa tells us the following about the offspring of the sage Aurva (i.e., "born from the thigh," uru), as we hear from Dowson [n5 J. Dowson, A Classical Dictionary of Hindu Mythology (8th ed. 1953), pp. 32f]:
The sage was urged by his friends to beget children. He consented, but he foretold that his progeny would live by destruction of others. Then he produced from his thigh a devouring fire, which cried out with a loud voice, 'I am hungry; let me consume the world.' The various regions were soon in flames, when Brahma interfered to save his creation, and promised the son of Aurva a suitable abode and maintenance. The abode was to be at Badava-mukha, the mouth of the ocean; for Brahma was born and rests in the ocean, and he and the newly produced fire were to consume the world together at the end of each age, and at the end of time to devour all things with the gods, Asuras, and Rakshasas. The name Aurva thus signifies, shortly, the submarine fire. It is also called Badavanala and Samvarttaka. It is represented as a flame with a horse's head, and it is also called Kakadhwaya, from carrying a banner on which there is a crow.
In the Mahabharata [n6 Mbh. 1.180-82 (Roy trans., vol. I, pp. 410-14)], this story is told by the Rishi Vasishtha (zeta Ursae Majoris) in order to appease his grandson, who likewise wished
393
to destroy the whole world without delay: "Then, O child, Aurva cast the fire of his wrath into the abode of Varuna [n7 “The water from which the world took its origin," according to H. G. Jacobi, Mahabharata (1903), p. 20.]. And that fire which consumeth the waters of the great Ocean, became like unto a large horse's head which persons conversant with the Vedas call by the name of Vadavamukha. And emitting itself from that mouth it consumeth the waters of the mighty ocean."
This fiery horse's head guides the curious straight into the mazes of the Mahabharata and the Shatapatha Brahmana where they are most impenetrable because they deal with the enigmatic story of the Rishi Dadhyafik, whose horse's head was dwelling in Lake Saryanavant, after it had revealed the "secret of madhu" (madhuvidya; madhu = honey mead) to the Ashvins, the Dioscures [n8 Cf. RV 1.116.12; SB 14.1.1.18-25 (Eggeling trans., vol. 5, pp. 444f.); Saunaka's Brihad Devata 3.16.25 (Macdonell trans., vol. 2, pp. 82-85).], and out of whose bones (the bones of the horse's skull) Tvashtri forged the thunderbolt for Indra, thus enabling him to slay "the 99 vritras" [n9 Cf. RV 1.84.13; Mbh. 12.343 (Roy trans., vol. 10, p. 578). Compare for the whole tradition, K. Rannow, "Zur Erklairung des Pravargya, des Agnicayana und des Sautramani," in Le Monde Oriental (1929), pp. 113-73; see also A. Keith, "Indian Mythology," MAR 6 (1917), pp. 61, 64.]—as Samson killed the Philistines with the jaw-bone of an ass—whereas Vishnu used this head to reconquer the Vedas that had been carried away by two Daityas during one of those time-swallowing "Yoga-sleeps" of Vishnu. Bereft of the Vedas, Brahma, to whom they served as "eyes," was unable to continue the work of creation, so that he implored the Lord of the universe to awake. "Praised by Brahma, the illustrious Purusha . . . shook off his slumber, resolved to recover the Vedas (from the Daityas that had forcibly snatched them away). Applying his Yoga-puissance, he assumed a second form. . . He assumed an equine head of great effulgence, which was the abode of the Vedas. The firmament, with all its luminaries and constellations, became the crown of his head. . . Having assumed this form endued with the equine head. . . the Lord of the universe disappeared then and there, and proceeded to the nether regions" ;n10 Mbh. 12.348 (Roy trans., vol. 10, p. 605).]—to return with the Vedas, successfully, and resuming his sleep, as goes without saying.
In other words, the "equine head" is as important a "form" of Vishnu as an enigmatical one, so much so, in fact, that the more "popular" tradition seems to ignore it, although the Great Epic tells us the following:
394
In days of yore, for doing good to the world, Narayana [Vishnu] took birth as the great Rishi Vadavamukha [see above, Aurva's son, the mouth of the ocean, Vadavamukha]. While engaged in practising severe austerities on the breast of Meru, he summoned the Ocean to his presence. The Ocean, however, disobeyed his summons [Greek Okeanos, too, was in the habit not to make his appearance, when Zeus summoned everybody to assemble.] Incensed at this, the Rishi, with the heat of his body, caused the waters of the Ocean to become as saltish in taste as the human sweat. The Rishi further said, 'Thy water shall henceforth cease to be drinkable. Only when the Equine-head, roving within thee, will drink thy waters, they will be as sweet as honey.'—It is for this curse that the waters of the Ocean to this day are saltish to the taste and are drunk by no one else than the Equine head [n11 Mbh. 12.343 (Roy trans., vol. 10, p. 583).].
The translator, Pratap Chandra Roy, remarks in a footnote (p. 583), without referring to the first book of the epic:
The Hindu scriptures mention that there is an Equine-head of vast proportions which roves through the seas. Blazing fires constantly issue from its mouth and these drink up the sea-water. It always makes a roaring noise. It is called Vadava-mukha. The fire issuing from it is called Vadava-nala. The waters of the Ocean are like clarified butter. The Equine-head drinks them up as the sacrificial fire drinks the libations of clarified butter poured upon it. The origin of the Vadava fire is sometimes ascribed to the wrath of Urva, a Rishi of the race of Jamadagni. Hence it is sometimes called Aurvya-fire.
None of the authorities quoted hitherto thought it worth mentioning where this Vadava-mukha was supposed to be. Only when checking the word in Macdonell's Practical Sanskrit Dictionary (p. 267) did we learn—exactly as foreseen, although Macdonell means a terrestrial South Pole, presumably—that "vadaba, f. = mare; Vivasvat's wife, who in the form of a mare became the mother of the Ashvins . . . vadaba-agni, m. submarine fire (supposed to be situated at the south pole) . . . vadaba-mukha, n. mare's mouth = entrance of hell at the south pole."
We are not likely to change these dark plots into a lucid and coherent story by dealing, here and now, more closely with Dadhyafik, whose name is said to mean "milk-curdling," and who is a "producer of Agni," and by comparing the several characters who are accused of swallowing up the ocean: we only hope to guide the attention to one among the many unperceived concrete problems.[unquote]
https://www.bibliotecapleyades.net/hamlets_mill/hamletmill_appendixes.htm
Mlecchita Vikalpa of Vātsyāyana is Indus Script. म्लेच्छदेशे आयसमुत्पत्ति (इति हारावली) , copper, alloy metal production in Mleccha (Meluhha) region
-- Coper production and trade evidenced in Indus Script Corpora is traced back to Rgveda tradition of yajna
-- Mlecchita vikalpa hieroglyphs and Meluhha rebus readings traced to Rgveda times
-- sha-da-ya on the Anthropomorph may be a reading of साध्य m. (pl.) ‘they that are to be propitiated’, N. of a class of celestial beings (belonging to the गण-देवता q.v., sometimes mentioned in the Veda [see, RV. x, 90, 16 ]; in the ŚBr. their world is said to be above the sphere of the gods; according to Yāska [Nir. xii, 41 ] their locality is the Bhuvarloka or middle region between the earth and sun; in Mn. i, 22 , the Sādhyas are described as created after the gods with natures exquisitely refined, and in iii, 195 , as children of the Soma-sads, sons of Virāj; in the Purāṇas they are sons of Sādhyā, and their number is variously twelve or seventeen; in the later mythology they seem to be superseded by the Siddhas See सिद्ध; and their names are Manas, Mantṛ, Prâṇa, Nara, Pāna, Vinirbhaya, Naya, Daṉśa, Nārāyaṇa, Vṛṣa, Prabhu), RV. &c. &c. (Monier-Wiliams)
-- The expression 'mlecchita vikalpa' explains why the entire Indus Script Corpora is a wealth-accounting ledger of metal-work, lapidary-work (with gems, jewels, jewellery) documented by karṇaka 'scribe, engraver, accountant, supercargo, helmsman' Sign 342.
-- Mlecchita vikalpa, Indus Script writing system, lit. means 'alternative signifiers of Mleccha, meluhha, milakkhu, 'copper-bronze artisans'. Mleccha, Meluhha mispronounced words of Indian sprachbund, 'language union' resulting in various dialects/language forms of Bhāratam Janam (RV 3.53.12). Bharata, baran means 'alloy of 5 copper, 4 zinc and 1 tin) (Marathi. Punjabi).
కండె [ kaṇḍe ] kaṇḍe. [Tel.] n. A head or ear of millet or maize. జొన్నకంకి. Mth. kã̄ṛ ʻstack of stalks of large milletʼ(CDIAL 3023). Rebus: kaṇḍ‘ furnace, fire-altar, consecrated fire’. Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’. By shaping the tablets in fish-shapes, the intent is to convey the definitive message that the khāṇḍā 'implements' are made of metal (ayo 'fish' rebus: ayas 'metal').
अयस्—कंस m. an iron goblet, Pāṇ. 8-3, 46 Sch. अयस्—काण्ड m. n. ‘a quantity of iron’ or ‘excellent iron’, (g. कस्कादि q.v.) अयस् n. iron, metal, RV. &c. |
an iron weapon (as an axe, &c.), RV. vi, 3,5 and 47, 10 |
gold, Naigh. |
steel. (Monier-Williams) |
अयस् [cf. Lat. aes, aer-is for as-is; Goth. ais, Thema aisa; Old Germ. êr, iron; Goth. eisarn; Mod. Germ. Eisen.] [ID=14769.1] |
"Chalcolithic Age in India is the first metal age, which indicates the first use of copper. This age extended from Chhota Nagpur plateau to the copper Gangetic basin. Some sites are found at Brahmagiri near Mysore and Navada Toli on the Narmada; among them Indus Valley is one of the important sites of this age. The Chalcolithic culture of Central, Eastern and Southern regions of India show altogether different features. The Chalcolithic culture ...Four cultural trends have been identified- Kayatha, Ahar or Banas, Malwa and Jorwe."
https://www.indianetzone.com/55/chalcolithic_age_india.htm
"The Chalcolithic (English: /ˌkælkəˈlɪθɪk/),[1] a name derived from the Greek: χαλκός khalkós, "copper" and from λίθος líthos, "stone" or Copper Age, also known as the Eneolithic or Aeneolithic (from Latin aeneus "of copper") is an archaeological period which researchers usually regard as part of the broader Neolithic (although scholars originally defined it as a transition between the Neolithic and the Bronze Age). In the context of Eastern Europe, archaeologists often prefer the term "Eneolithic" to "Chalcolithic" or other alternatives.In the Chalcolithic period, copper predominated in metalworking technology. Hence it was the period before it was discovered that by adding tin to copper one could create bronze, a metal alloy harder and stronger than either component.The archaeological site of Belovode, on Rudnik mountain in Serbia, has the worldwide oldest securely-dated evidence of copper smelting at high temperature, from c. 5000 BC (7000 BP ).The transition from Copper Age to Bronze Age in Europe occurs between the late 5th and the late 3rd millennia BC. In the Ancient Near East the Copper Age covered about the same period, beginning in the late 5th millennium BC and lasting for about a millennium before it gave rise to the Early Bronze Age." https://en.wikipedia.org/wiki/Chalcolithic
The Timna Valley (תִּמְנָע) is located in southern Israel in the southwestern Arava/Arabah, approximately 30 kilometres (19 mi) north of the Gulf of Aqaba and the city of Eilat. The area is rich in copper ore and has been mined since the 5th millennium BCE.
Mining tools. Chalcolithic copper mine in Timna Valley"The emergence of metallurgy may have occurred first in the Fertile Crescent. The earliest use of lead is documented here from the late Neolithic settlement of Yarim Tepe in Iraq,"The earliest lead (Pb) finds in the ancient Near East are a 6th millennium BC bangle from Yarim Tepe in northern Iraq and a slightly later conical lead piece from Halaf period Arpachiyah, near Mosul.[7] As native lead is extremely rare, such artifacts raise the possibility that lead smelting may have begun even before copper smelting."Copper smelting is also documented at this site at about the same time period (soon after 6000 BC), although the use of lead seems to precede copper smelting. Early metallurgy is also documented at the nearby site of Tell Maghzaliyah, which seems to be dated even earlier, and completely lacks pottery.The Timna Valley contains evidence of copper mining in 7000–5000 BC. The process of transition from Neolithic to Chalcolithic in the Middle East is characterized in archaeological stone tool assemblages by a decline in high quality raw material procurement and use. This dramatic shift is seen throughout the region, including the Tehran Plain, Iran. Here, analysis of six archaeological sites determined a marked downward trend in not only material quality, but also in aesthetic variation in the lithic artefacts. Fazeli et al. use these results as evidence of the loss of craft specialisation caused by increased use of copper tools. The Tehran Plain findings illustrate the effects of the introduction of copper working technologies on the in-place systems of lithic craft specialists and raw materials. Networks of exchange and specialized processing and production that had evolved during the Neolithic seem to have collapsed by the Middle Chalcolithic (c. 4500–3500 BC) and been replaced by the use of local materials by a primarily household-based production of stone tools...According to Parpola (2005), ceramic similarities between the Indus Civilization, southern Turkmenistan, and northern Iran during 4300–3300 BC of the Chalcolithic period suggest considerable mobility and trade. The term "Chalcolithic" has also been used in the context of the South Asian Stone Age. In Bhirrana, the earliest Indus civilization site, copper bangles and arrowheads were found. The inhabitants of Mehrgarh in present-day Pakistan fashioned tools with local copper ore between 7000–3300 BC. At the Nausharo site dated to 4500 years ago, a pottery workshop in province of Balochistan, Pakistan, were unearthed 12 blades or blade fragments. These blades are 12–18 cm (5–7 in) long and 1.2–2.0 cm (0.5–0.8 in) and relatively thin. Archaeological experiments show that these blades were made with a copper indenter and functioned as a potter's tool to trim and shape unfired pottery. Petrographic analysis indicates local pottery manufacturing, but also reveals the existence of a few exotic black-slipped pottery items from the Indus Valley." (Vasant Shinde and Shweta Sinha Deshpande, "Crafts and Technologies of the Chalcolithic People of South Asia: An Overview" Indian Journal of History of Science, 50.1 (2015) 42-54; Potts, Daniel T., ed. (2012-08-15). "Northern Mesopotamia". A Companion to the Archaeology of the Ancient Near East. 1. John Wiley & Sons, 2012. p. 302; Fazeli, H.; Donahue, R.E.; Coningham, R.A.E. (2002). "Stone Tool Production, Distribution and Use during the Late Neolithic and Chalcolithic on the Tehran Plain, Iran". Iran: Journal of the British Institute of Persian Studies. 40: 1–14. doi:10.2307/4300616. JSTOR 4300616; Méry, S; Anderson, P; Inizan, M.L.; Lechavallier, M; Pelegrin, J (2007). "A pottery workshop with flint tools on blades knapper with copper at Nausharo (Indus civilisation ca. 2500 BC)". Journal of Archaeological Science. 34 (7): 1098–1116. doi:10.1016/j.jas.2006.10.002)
https://en.wikipedia.org/wiki/Chalcolithic
आयस्कारि m. a descendant of Ayas-kāra
आयसीयःअयस्मन्निकृष्टदेशादौत्रि०स्त्रियांङीप्।एतियज्ञस्थानम्इणअसुन्।३वह्नौपु०।“अयाश्चाग्नेऽस्यनभिशस्त्ययाश्चसत्वमित्त्वमयाअसि।अयानोयज्ञंवहास्ययानोऽवेहिभेषजम्” यजु०।४हिरण्येनिरु०“रक्षोहाविचर्षणिरमियोनि-मयोहतम्अभ्यनूषतायोहतम्ऋ०९, १, २, ८०,“अयइतिहिरण्यनामेतिभा०“हिरण्यपाणिःप्रति-दोषमास्थात्अयोहनुर्यजतेइतिऋ०६, ७१, १,अयोहनुर्हिरण्मयहनुः” भा०।अयस्कंसा पु०न०।अयोविकारःकंसंपात्रंसत्वम्।लौहनिर्म्मितेपानपात्रे। --शब्दकल्पद्रुमः
आयसीय त्रि०अयसःसन्निकृष्टदेशादि०कुशा०छण्।लौहसन्निकृष्टदेशादौ।आयस्कार पु०अयस्कारएवस्वार्थेअण्।लौहकारेत्रिका०--वाचस्पत्यम्
आयसीय mfn. (fr. अयस्), belonging to or made of iron, (g. कृशाश्वादि, Pāṇ. 4-2, 80. )
आयस mf(ई)n. (fr. अयस्), of iron, made of iron or metal, metallic, RV. ; ŚBr. ; KātyŚr. ; MBh. ; Yājñ. &c. [ID=25831] |
iron-coloured, MBh. v, 1709 |
armed with an iron weapon, L. |
आयसी f. armour for the body, a breastplate, coat of mail, L. |
(also) an iron vessel, Viṣṇ. |
आयस n. iron |
anything made of iron, Ragh. ; Kum. &c. |
a wind-instrument, KātyŚr. xxi, 3, 7. |
अश्मा च मे मृत्तिका च मे गिरयश् च मे पर्वताश् च मे सिकताश् च मे वनस्पतयश् च मेहिरण्यं च मे अयस् च मे श्यामं च मे लोहं च मे सीसं च मे त्रपु च मे यज्ञेन कल्पन्ताम् ॥-- शुक्लयजुर्वेदः/अध्यायः १८ वसोर्धारादि मन्त्राः १३
In dialects of Bharatiya sprachbund (speech union), the Meluhha word gains the following meaning expansions of 'skill', 'preparing, clipping', for e.g. cutting a nib, clipping from a metal sheet:
Tu. kalpuni to learn, study; kalpāvuni to teach, instigate; (B-K.) kalpādi a learned man, sophist; hypocrite. Te. kaṟacu to learn, study; kaṟapu to teach; n. instigation, incitement; kaṟapincu to cause to teach; kaṟudu ability, skill, cleverness; kala an art, a science. Kol. karp- (karapt-) to learn, teach; (SR.) karāp- to learn; karīl- to understand. Nk. karap- to learn.(DEDR 1297)
kálpa ʻ capable ʼ ŚBr., m. ʻ rule, practice ʼ RV., ʻ an age ʼ MBh. 2. *karpa -- . [√
कल्प पु० कल्पते समर्थो भवति स्वक्रियायै विरुद्धलक्षणया असमर्थो-भवति वाऽत्र, कृपू सामर्थ्ये विरुद्धलक्षणया असामर्थ्ये वाआधारे घञ् कल्पयति सृष्टिं विनाशं वात्र कृप-णिच्-आधारे अच् । ...कल्पनी स्त्री कृप--छेदने करणे ल्युट् ङीप् । कर्त्तर्य्याम् ।(काञ्चि) हेमच० ।--वाचस्पत्यम्
दे. पवमानः सोमः। गायत्री। RV 9.9.7 अवा कल्पेषु नः पुमस्तमांसि सोम योध्या । तानि पुनान जङ्घनः ॥७॥ अव । कल्पेषु । नः । पुमः । तमांसि । सोम । योध्या । तानि । पुनान । जङ्घनः ॥७ हे "पुमः पुमन् सोम "कल्पेषु कल्पनीयेष्वहःसु "नः अस्मान् "अव रक्ष । अपि च "पुनान हे पवमान "सोम त्वं "योध्या योधनीयानि “तमांसि रक्षांसि यानि "तानि जङ्घनः नाशय ॥ Translation (Griffith) RV 9.9.7: Aid us in holy rites, O Man: O Pavamana, drive away Dark shades that must be met in fight.Translation (Wilson) RV 9.9.7: Protect us, manly Soma, in the days of sacrifice purifier, destroy those powers of darkness against which we must contend. [In the days of sacrifice: kalpes.u = kalpaniyes.vahahsu, in the days which have to be reckoned; another interpretation: 'in our rites']. |
कल्प m. a sacred precept, law, rule, ordinance (= विधि, न्याय), manner of acting, proceeding, practice (esp. that prescribed by the Vedas), RV. ix, 9, 7 ; AV. viii, 9, 10; xx, 128, 6-11 ; MBh. ; investigation, research Comm. on Sāṃkhyak. the art of preparing medicine, pharmacy; -
म्लेच्छास्यं, क्ली, (म्लेच्छे म्लेच्छदेशे आस्यमुत्पत्ति-रस्य ।) ताम्रम् । इति हारावली ॥ This is a text which lists synonyms. I suggest that the explanatory expression should be read as आयसमुत्पत्ति, i.e. the country in which ayas 'alloy metals' are produced and yielding a specific reference to mining of copper ताम्रम् which is a synonym of म्लेच्छास्यं।.
अयस्कार, पुं, (अयोविकारं करोति, क्त + अण्उपपदसमासः ।) प्रजङ्घाग्रः । जङ्घाग्रभागः ।इति त्रिकाण्डशेषः ॥ लौहकारः । अयस्करोतीतिव्युत्पत्त्या ॥ ...अयस्कान्तः, पुं, (अयस्सु कान्तः रमणीयः ।) लौह-विशेषः । कान्तलोह इति ख्यातः । तत्प-र्य्यायः । कान्तलोहं २ कान्तं ३ लौहकान्तकं४ कान्तायसं ५ कृष्णलोहं ६ महालोहं ७ ।अस्य गुणाः । तीक्ष्णत्वं । उष्णत्वं । रूक्षत्वं ।पाण्डुशोथकफपित्तहरत्वं । रसायनत्वं । अनु-त्तमत्वञ्च । स चतुर्व्विधः । भ्रामकः १ चुम्बकः२ रोमकः ३ स्वेदकः ४ । एते रसायने उत्तरोत्तरगुणिनः ।आयसं, क्ली, (अयस् + अण् ।) लौहं । इतिभरतः राजनिर्घण्टश्च ॥ अयोनिर्मितादौ, त्रि ॥(यथा महाभारते, --“आयसं हृदयं मन्ये तस्य दुष्कृतकर्म्मणः” ।यथा मनुः, ८ । ३१५ ।“शक्तिं चोभयतस्तीक्ष्णामायसं दण्डमेव वा” ।रघुवंशे, १७ । ६३ ।“स चकर्ष परस्मात् तदयस्कान्त इवायसम्” ।(अयोजनितार्थे यथा, --“विपाके कटु शीतञ्च सर्व्वश्रेष्ठं तदायसम्” ॥इति वैद्यकचक्रपाणिसंग्रहे ॥) आयसी, स्त्री, (अयसा निर्म्मिता । अयस् + अण् +ङीप् ।) लौहमयकवचः । तत्पर्य्यायः । अङ्गरक्षिणी२ जालिका ३ जालप्राया ४ । इति हेमचन्द्रः ॥--शब्दकल्पद्रुमः
ऋग्वेदः - मण्डल ६ सूक्तं ६.७१ बार्हस्पत्यो भरद्वाजः
दे. सविता। जगती, ४-६ त्रिष्टुप् । |
घृतेन पाणी अभि प्रुष्णुते मखो युवा सुदक्षो रजसो विधर्मणि ॥१॥
“देवः द्योतमान: "सुक्रतुः सुकर्मा “स्यः स प्रसिद्धः "सविता “हिरण्यया हिरण्मयौ आत्मीयौ “बाहू "सवनाय सुवनाय दानाय वा “उत् "अयंस्त उद्यच्छति । किंच “मखः मंहनीयः "युवा नित्यतरुणः "सुदक्षः सुप्रज्ञः "रजसः लोकस्योदकस्य वा "विधर्मणि विधारणे स्थितः “घृतेन उदकेन पूर्णौ स्वौ "पाणी "अभि “प्रुष्णुते अभिप्रेरयति ॥--सायणभाष्यम्
ऋग्वेदः - मण्डल १
सूक्तं १.५७
सव्य आङ्गिरसः
दे. इन्द्रः। जगती। |
अस्मै भीमाय नमसा समध्वर उषो न शुभ्र आ भरा पनीयसे ।
यस्य धाम श्रवसे नामेन्द्रियं ज्योतिरकारि हरितो नायसे ॥३॥
हे "उषः उषोदेवते "शुभ्रे शोभने त्वं "भीमाय शत्रूणां भयंकराय "पनीयसे अतिशयेन स्तोतव्याय "अस्मै इन्द्राय "अध्वरे हिंसारहितेऽस्मिन्यागे । "न इति संप्रत्यर्थे । तथा च यास्कः - ‘ अस्त्युपमार्थस्य संप्रत्यर्थे प्रयोग इहेव निधेहि ' (निरु. ७. ३१) इति । संप्रतीदानीं "नमसा नमो हविर्लक्षणमन्नं "सम् "आ “भर सम्यक् संपादय । “धाम सर्वस्य धारकं "नाम स्तोतृषु नमनशीलं प्रसिद्धं वा "इन्द्रियम् इन्द्रत्वस्य परमैश्वर्यस्य लिङ्गं यस्य इन्द्रस्य एवंविधं "ज्योतिः “श्रवसे अन्नाय हविर्लक्षणान्नलाभार्थम् "अयसे इतस्ततो गमनाय "अकारि क्रियते । "हरितो "न । यथाश्वान्सादिनः स्वाभिलषितदेशं गमयन्ति तद्वदिन्द्रोऽपि स्वाभिमतहविर्लाभाय स्वकीयं तेजो गमयतीति भावः ॥ उषः । पादादित्वात् निघाताभावः । शुभ्रे । 'शुभ दीप्तौ'। स्फायितञ्चि° 'इत्यादिना रक् । भर ।'हृग्रहोर्भः'इति भत्वम् ।'द्व्यचोऽतस्तिङः'इति दीर्घः । पनीयसे । पनतेः स्तुत्यर्थात् बहुलवचनात् कर्मणि असुन् । तस्मात् आतिशायनिके ईयसुनि ‘टे: 'इति टिलोपः । अकारि । 'छन्दसि लुङ्लङ्लिटः'इति वर्तमाने कर्मणि लुङ् । यद्वृत्तयोगादनिघातः । अडागम उदात्तः । अयसे ।'अय गतौ'इत्यस्मात् भावे असुन् ॥--सायणभाष्यम्
ऋग्वेदः - मण्डल १
सूक्तं १.१६३
दीर्घतमा औचथ्यः
दे. अश्वः । त्रिष्टुप् । |
हिरण्यशृङ्गोऽयो अस्य पादा मनोजवा अवर इन्द्र आसीत् ।
देवा इदस्य हविरद्यमायन्यो अर्वन्तं प्रथमो अध्यतिष्ठत् ॥९॥
अयमश्वः “हिरण्यशृङ्गः हितरमणीयशृङ्गो वा उन्नतशिरस्को हृदयरमणशृङ्ग स्थानीयशिरोरुहो वा “अस्य “पादाः “अयः अयोमयाः अयःपिण्डसदृशा इत्यर्थः । तथा “मनोजवाः मनोवेगाः । अथवा एतदिन्द्रविशेषणम् । ईदृशस्याश्वस्य सामर्थ्यं प्रति मनोवेगः “इन्द्रः अपि "अवरः निकृष्टः “आसीत् । किंच “अस्य अश्वस्य हविरद्यं हविषः अदनं भक्षणम् ॥ स्वार्थिको यत् ॥ अदनयोग्यं हविर्वा अपेक्ष्य “देवा “इत् सर्वेऽपि देवाः "आयन् प्राप्ताः । “यः इन्द्रः "अर्वन्तं “प्रथमः प्रथमभावी सन् “अध्यतिष्ठत् अधिष्ठितवान् स्वहविष्ट्वेन'स्वकीयत्वेन वा आश्रितवानित्यर्थः । ‘इन्द्र एणं प्रथमो अध्यतिष्ठत्'इति ह्युक्तम् --सायणभाष्यम्
अयस् न० एति चलति अयस्कान्तसान्निध्यात् इण--असुन् ।लौहे धातुभेदे तस्य स्थिरत्वेऽपि अयस्कान्तसान्निध्याच्चण-नात्तथात्वम् । “सुहृदयोहृदयः प्रतिगर्ज्जताम्” “अभितप्त-मयोऽपि मार्द्दवं भजते कैव कथा शरीरिणाम्” इति च रघुः“ताम्रायःकांस्यरैत्यानां त्रिपुणः सीसकस्य च” अयः कांस्य-पलानाञ्च द्वादशाहमपान्नता” इति च मनुः । अयसः पाकादिअमृतसारशब्दे ३२६ पृष्ठे दृश्यम् । अधिकं लीहशब्देवक्ष्यते । उपचारात् २ अयोनिर्स्मिते शस्त्रादावपि । “तेजो-ऽयसो न धाराम् ऋ० ६, ३, ५, अयसः अयोमयस्यपरश्वादेर्धाराम्” भा० । हिरण्यशृङ्गोऽयो अस्यपादाः ऋ०१, १६३, ९ भावे असुन् । ३ गमने न० । ‘ज्योतिरकारि हरितीनाऽयसे ऋ० १, ५७, ३ “अयसे गमनाय” भा० अयसा-निर्म्मितम् अण् । आयसम् लौहमये कठाहादौ अयसो-विकारः अण् आयसः । लौहविकारे ‘अयस्कान्तैवायसम्’रघुः “आयसेन तु पात्रेणेत्यादि २७८ पृष्ठे दर्शितम् ।मयट् अयोमयः । वेदे तु अयस्मयादि० नि० अयस्सयः ।लोहविकारे त्रि० स्त्रियां ङीप् । चतुरर्थ्यां छण् ।आयसीयः अयस्मन्निकृष्टदेशादौ त्रि० स्त्रियां ङीप् ।एति यज्ञस्थानम् इण असुन् । ३ वह्नौ पु० ।“अयाश्चाग्नेऽस्यनभिशस्त्ययाश्च सत्वमित्त्वमया असि ।अयानो यज्ञं वहास्यया नोऽवेहि भेषजम्” यजु० ।४ हिरण्ये निरु० “रक्षोहा विचर्षणिरमियोनि-मयोहतम् अभ्यनूषतायोहतम् ऋ० ९, १, २, ८०,“अय इति हिरण्यनामेति भा० “हिरण्यपाणिः प्रति-दोषमास्थात् अयोहनुर्यजते इति ऋ० ६, ७१, १,अयोहनुर्हिरण्मयहनुः” भा० ।अयस्कंसा पु० न० । अयोविकारः कंसं पात्रंसत्वम् ।लौहनिर्म्मिते पानपात्रे ।अयस्कर्ण्णी स्त्री अय इव कर्ण्णावस्य गौ० ङीष् ।लौहतुल्यकठिनकर्ण्णयुक्तायां स्त्रियाम् ।अयस्कान्त पु० अयस्सु कान्तः रमणीयः कस्कादि-त्वात् सत्वम् । (कान्तिलौह) इति ख्याते १ लौहभेदे ।अयसां कान्तः इष्टः सन्निधिमात्रेणाकर्षकत्वात् । सन्निधि-मात्रेण लौहाकर्षके (चुम्वक) इति ख्याते २ प्रस्तरभेदे ।“शम्भोर्यतध्वमाक्रष्टुमयस्कान्तेन लौहवत्” कुमा० “स चकर्षपरस्मात्तदयस्कान्तमिवायसम्” रघुः । अयस्कान्तेनाकर्ष-णीयशल्यापनयनार्थे ३ व्रणचिकित्साभेदे यथोक्तं सुश्रुते“अनुलोममनवबद्वमकर्णमनल्पव्रणमुखमयस्कान्तेन” ।अयस्काम त्रि० अयः कामयते कम--अण् उप० स० सत्वम् ।लौहाभिलाषिणि ।अयस्कार त्रि० अयोविकारं करोति कृ--अण् उप० स० सत्वम् । लौहकारे (कामार) ।अयस्कुम्भ पु० अयोविकारः कुम्भः सत्वम् । लौहमये घटे ।अयस्कुशा स्त्री अयःसहिता कुशा शाक० त० सत्वम् ।लौहसहितकुशायाम् ।अयस्कृति स्त्री अयसा कृतिः चिकित्साप्रक्तिया सत्वम् । सुश्रु-तोक्तेमहाकुष्ठचिकित्साभेदे “अथ ऊर्द्ध्वमयस्कृतीर्वक्ष्यामः ।तीक्ष्णलोहपत्राणि तनूनि लवणवर्गप्रदिग्धानि गोमयाग्नि-प्रतप्रानि त्रिफलाशालसारादिकषायेण निर्वापयेत् षोड़श-वारांस्ततः स्वदिराङ्गारतप्तान्युपशान्ततापानि सूक्ष्म-चूर्णानि कारयेद्गाढतान्तवपरिस्नावितानि ततो यथाबलंमात्रां सर्पिर्मधुभ्यां संसृज्योपयुञ्जीत । जीर्णेयथाव्याध्य-नम्लमलवणमाहारं कुर्व्वीत । तुलामुपयुज्य कुष्ठमेहमेदःश्वयथुपाण्डुरोगोन्मादापस्मारानपहृत्य वर्षशतं जीवतितुलायां तुलायां वर्षशतगुणोत्कर्षः । एतेन सर्व्वलौहेष्वय-स्कृतयो व्याख्याताः ।अयस्थूण पु० अयोनिर्म्मितः स्थूणः वा विसर्गलोपः ।लोहमये १ गृहस्थूणे ६ ब० । थाविधगृहस्थूणयुक्ते २ गृहस्थे ।“अयस्थूणगृहपतीनां वै” शतव्रा० अयस्थूणा गृहपतय-स्तेपामिति तेषाम् हीनद्रव्यकत्वादाक्षेपः भा० । ७ त०३ अयोमयाक्षे रथादौ त्रि० । “व्युष्टावयस्थूणमुदितासूर्य्यस्य” ऋ० ५, ६२, ८, अयस्थूणमयोमयशङ्कुं गर्त्तंरथं वेति भा० । ४ऋषिभेदे पु० तस्य गोत्रम् अण्आयस्थूणः तस्य बहुषु लुक् । अयस्थूणाः । गौ०पाटात् ङीष् अयस्थूणी ।अयस्पात्र न० अयोमयं पात्रं सत्वस् । लौहमये पात्रे ।अयस्मय त्रि० अयोविकारः अयस् + मयट् वेदे नि० । भत्वम्स्त्रियां ङीप् । अयोमये लौहमये “असुरा एषु लोकेषुपुरश्चक्रिरेऽयस्मयोमेवास्मिँलोके रजतामन्तरीक्षे हरिणींदिवि” शतव्रा० । “भूम्या अयस्मयम् पातु” अथ० ५, २८, ९,शतमृष्टिरयस्मयीः अथ० ४, ३७, ८, छन्दसीति प्रायिकतेन लोकेऽपि “पंरिभ्रमन्तमनिशं तीक्ष्णधारमयस्मयम्”भा० आ० प० “ततः शक्तिं गृहीत्वा तु रुक्मदण्डमयस्मयीम्भा० द्रो० प० ।अयस्मयादि पु० ६ त० “अयस्मयादीनि छन्दसि” पा० उक्तेभत्वादिकार्य्यार्थे निपाताङ्गे अकृतिगणभेदे ।आयस त्रि० अयसो विकारः अण् स्त्रियां ङीप् । लौहमये ।“शक्तिञ्चोभयतस्तीक्ष्णामायसं दण्डमेव वा” “पुमांसंदाहयेत् पापं शयने तप्तआयसे” इति च मनुः । “स चकर्ष-परस्मात् तत् अयस्कान्त इवायसम्” रघुः । “मूढ़बुद्धिमिवा-त्मानं हैमीभूतमिवायसम्” कुमा० । २ लौहमयकवचे च३ अङ्गरक्षिण्यां जालिकायां स्त्री । अयएव स्वार्थेअण् ।४ लौहे । ततः विकारेमयट्लोहमये त्रि० स्त्रियां ङीप् ।आयसीय त्रि० अयसः सन्निकृष्टदेशादि० कुशा० छण् ।लौहसन्निकृष्टदेशादौ ।आयस्कार पु० अयस्कार एव स्वार्थे अण् । लौहकारे त्रिका०--वाचस्पत्यम्
- Ardhamagadhi Prakrit: 𑀫𑀺𑀮𑀓𑁆𑀔𑀼 (milakkhu), 𑀫𑁂𑀘𑁆𑀙 (meccha)
- → Classical Newar: म्लेछ
- → Old Javanese: [script needed] (mleccha), [script needed] (maleca)
- Maharastri Prakrit: 𑀫𑀺𑀮𑀺𑀘𑁆𑀙 (miliccha)
- Old Marathi: मलैस (malaisa)
- → Old Marathi: म्लेंछ (mleṃcha)
- Pali: milakkha, milakkhu (a borrowing from another Prakrit), milāca
- Sauraseni Prakrit: [Term?]
- Braj: मेछ (mech)
- https://sa.wikisource.org/wiki/वाचस्पत्यम्/
- https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः/
- मुख 'copper'; 'the edge (of an axe) '
- Milakkha [cp. Ved. Sk. mleccha barbarian, root mlecch, onomat. after the strange sounds of a foreign tongue, cp. babbhara & mammana] a barbarian, foreigner, outcaste, hillman S
आयस त्रि० अयसो विकारः अण् स्त्रियां ङीप् । लौहमये ।“शक्तिञ्चोभयतस्तीक्ष्णामायसं दण्डमेव वा” “पुमांसंदाहयेत् पापं शयने तप्तआयसे” इति च मनुः । “स चकर्ष-परस्मात् तत् अयस्कान्त इवायसम्” रघुः । “मूढ़बुद्धिमिवा-त्मानं हैमीभूतमिवायसम्” कुमा० । २ लौहमयकवचे च३ अङ्गरक्षिण्यां जालिकायां स्त्री । अयएव स्वार्थेअण् ।४ लौहे । ततः विकारेमयट्लोहमये त्रि० स्त्रियां ङीप् ।
आयसीय त्रि० अयसः सन्निकृष्टदेशादि० कुशा० छण् ।लौहसन्निकृष्टदेशादौ । (वाचस्पत्यम्)
म्लेच्छ अपशब्दे वा चु० उभ० पक्षे भ्वा० पर० अक०सेट् । म्लेच्छयति ते म्लेच्छति अमम्लेच्छत् त अम्लेच्छीत्
म्लेच्छ पु० म्लेच्छ--घञ् । १ अपशब्दे “म्लेच्छोह वा नामयदप्रशब्द” इति श्रुतिः । कर्त्तरि अच् । २ पामरजातौ,३ नीचजातौ च पुंस्त्री० स्त्रियां ङीष् “गोमांसखादकोयस्तु विरुद्धं बहु भाषते । सर्चाचारविहीनश्च म्लेच्छइत्यभिधीयते” बौधायनः । ४ पापरते त्रि० मेदि० ।५ हिङ्गुले न० राजनि० ।
म्लेच्छकन्द पु० म्लेच्छप्रियः कन्दः शा० त० । लशुने राजनि०
म्लेच्छजाति स्त्री म्लेच्छाभिधा जातिः । गोमांसादिभक्षकेकिरातादिजातिभेदे अमरः ।
म्लेच्छदेश पु० म्लेच्छाधारो देशः । चातुर्वर्ण्याचाररहितेदेशे अमरः । “चातुर्वर्ण्यव्यवस्थानं यस्मिन् देशे नविद्यते । म्लेच्छदेशः स विज्ञेय आर्य्यावर्त्तस्ततःपरम्” ।
म्लेच्छभोजन न० म्लेच्छैर्भुज्यते भुज--कर्मणि ल्युट् ।१ यावके अन्नभेदे शब्दर० । २ गोधूमे पु० त्रिका० ।
म्लेच्छमण्डल न० ६ त० । म्लेच्छदेशे हेमच० ।
म्लेच्छमुख न० म्लेच्छानां मुखमिव रक्तत्वात् । ताम्रे अमरः ।म्लेच्छास्यमप्यत्र हारा० ।
म्लेच्छित न० म्लेच्छ--क्त । अपशब्दे असंस्कृतशब्दे हारा० ।
(वाचस्पत्यम्)म्लेच्छित n. a foreign tongue म्लेच्छित mfn. = म्लिष्ट, Pāṇ. 7-2, 18 Sch. म्लिष्ट न० म्लेच्छ--क्त नि० । १ अविस्पष्टवाक्ये २ तद्वाक्ययुक्ते ३ म्लाने च त्रि० मेदि० (वाचस्पत्यम्) |
|
म्लेच्छाश m. = म्लेच्छ-भोजन n. ‘food of b°’, wheat, L. (also °ज्य) |
म्लेच्छ—भोजन n. = यावक, half-ripe barley, L. |
Whitney Roots links: म्लेछ् & Westergaard Dhatupatha links: 7.25, 32.120 म्लेछ् (= √म्लिछ्) cl. 1. P. (Dhātup. vii, 25 ) म्लेच्छति (Gr. also pf. मिम्लेच्छ fut. म्लेच्छिता &c.; Ved. inf. म्लेच्छितवै, Pat. ),to speak indistinctly (like a foreigner or barbarian who does not speak Sanskṛt), ŚBr. ; MBh. :Caus. or cl. 10. P. म्लेच्छयति id., Dhātup. xxxii, 120. म्लेच्छ m. a foreigner, barbarian, non-Aryan, man of an outcast race, any person who does not speak Sanskṛt and does not conform to the usual Hindū institutions, ŚBr. &c. &c. (f(ई). ) [ID=168910] |
a person who lives by agriculture or by making weapons, L. [ID=168911] |
a wicked or bad man, sinner, L.; |
ignorance of Sanskṛt, barbarism, Nyāyam. Sch. |
म्लेच्छ n. copper, L. |
vermilion, L. (Monier-Williams) |
म्लेच्छमण्डलं, क्ली, (म्लेच्छानां मण्डलं समूहोऽत्र ।)म्लेच्छदेशः । इति हेमचन्द्रः ॥
म्लेच्छमुखं, क्ली, (म्लेच्छे म्लेच्छदेशे मुखमुत्पत्ति-रस्य । इत्यमरटीकायां रघुनाथः ।) ताम्रम् ।इत्यमरः । २ । ९ । ९७ ॥ (तथास्य पर्य्यायः ।“ताम्रमौदुम्बरं शुल्वमुदुम्बरमपि स्मृतम् ।रविप्रियं म्लेच्छमुखं सूर्य्यपर्य्यायनामकम् ॥”इति भावप्रकाशस्य पूर्ब्बखण्डे प्रथमे भागे ॥“ताम्रमौडुम्बरं शूल्वं विद्यात् म्लेच्छमुख-न्तथा ॥”इति गारुडे २०८ अध्याये ॥)
म्लेच्छाशः, पुं, (म्लेच्छैरश्यते इति । अश् + कर्म्मणि+ घञ् ।) म्लेच्छभोजनः । गोधूमः । इतिकेचित् ॥
म्लेच्छास्यं, क्ली, (म्लेच्छे म्लेच्छदेशे आस्यमुत्पत्ति-रस्य ।) ताम्रम् । इति हारावली ॥
म्लेच्छितं, क्ली, (म्लेछ् देश्योक्तौ + क्तः ।) म्लेच्छ-भाषा । अपशब्दः । तत्पर्य्यायः । परभाषा २ ।इति हारावली ॥
म्लेच्छभोजनः, पुं, (भुज्यतेऽसौ इति । भुज् +ल्युट् । म्लेच्छानां भोजनः । (गोधूमः । इतित्रिकाण्डशेषः ॥
चषालः, पुं, (चष्यते वध्यतेऽस्मिन् । चष + “सानसि-वर्णसीति ।” उणां । ४ । १०७ । इति आलप्रत्ययेन निपातनात् साधुः ।) यूपकटकः । इत्य-मरः । २ । ७ । १८ ॥ यज्ञसमाप्तिसूचकं पशु-बन्धनाद्यर्थं यज्ञभूमौ यत् काष्ठमारोप्यते स यूपःतस्य शिरसि वलयाकृतिर्डमरुकाकृतिर्व्वा यःकाष्ठविकारः सः । यूपमूलेविहितलोहवलयश्च ।इति केचित् । इति भरतः ॥ मधुस्थानम् । इतिसंक्षिप्तसारे उणादिवृत्तिः ॥
यूपकटकः, पुं, (यूपस्य कटक इव ।) यज्ञसमाप्ति-सूचकं पशुबन्धाद्यर्थं यज्ञभूमौ यत् काष्ठमारो-प्यते स यूपः तस्य शिरसि वलयाकृतिर्डमरुका-कृतिर्वा यः काष्ठविकारः सः । यूपमूले निहित-लोहबलय इति केचित् । इति भरतः ॥ तत्-पर्य्यायः । चषालः २ । इत्यमरः । २ । ७ । १८ ॥
- https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः
'After reading and considering the works of Babhravya and other ancient authors, and thinking over the meaning of the rules given by them, this treatise was composed, according to the precepts of the Holy Writ, for the benefit of the world, by Vatsyayana, while leading the life of a religious student at Benares, and wholly engaged in the contemplation of the Deity. This work is not to be used merely as an instrument for satisfying our desires. A person acquainted with the true principles of this science, who preserves his Dharma (virtue or religious merit), his Artha (worldly wealth) and his Kama (pleasure or sensual gratification), and who has regard to the customs of the people, is sure to obtain the mastery over his senses. In short, an intelligent and knowing person attending to Dharma and Artha and also to Kama, without becoming the slave of his passions, will obtain success in everything that he may do.' |
शब्दकल्पद्रुमः notes in reference to the geographical spread of mleccha speakers that they constituted the Bhāratam Janam and were all over Bhāratam. The spoken form of the language is called mleccha bhāṣā. This language or Prakritam is signified by Indus Script hieroglyphs in the Corpora.
ऋग्वेदः - मण्डल १०सूक्तं१०.९०नारायणः।दे. पुरुषः ।अनुष्टुप्, १६ त्रिष्टुप्
यज्ञेनयज्ञमयजन्तदेवास्तानिधर्माणिप्रथमान्यासन्।
तेहनाकंमहिमानःसचन्तयत्रपूर्वेसाध्याःसन्तिदेवाः॥१६॥
सायणभाष्यम् : पूर्वप्रपञ्चेनोक्तमर्थंसंक्षिप्यात्रदर्शयति।"देवाःप्रजापतिप्राणरूपाः"यज्ञेनयथोक्तेनमानसेनसंकल्पेनयज्ञंयथोक्तयज्ञस्वरूपंप्रजापतिम्"अयजन्तपूजितवन्तः।तस्मात्पूजनात“तानिप्रसिद्धानि“धर्माणिजगद्रूपविकाराणांधारकाणि"प्रथमानिमुख्यानिआसन्।एतावतासृष्टिप्रतिपादकसूक्तभागार्थःसंगृहीतः।अथोपासनतत्फलानुवादकभागार्थःसंगृह्यते।"यत्रयस्मिन्विराटप्राप्तिरूपेनाके"पूर्वे"साध्याःपुरातनाविराडुपास्तिसाधकाः“देवाः"सन्तितिष्ठन्तितत्"नाकंविराट्प्राप्तिरूपंस्वर्ग“ते“महिमानःतदुपासकामहात्मानः"सचन्तसमवयन्तिप्राप्नुवन्ति॥
David Kahn, 1996, The Code Breakers, Simon and Schuster
[quote]The magnificent, unrivaled history of codes and ciphers -- how they're made, how they're broken, and the many and fascinating roles they've played since the dawn of civilization in war, business, diplomacy, and espionage -- updated with a new chapter on computer cryptography and the Ultra secret.
Man has created codes to keep secrets and has broken codes to learn those secrets since the time of the Pharaohs. For 4,000 years, fierce battles have been waged between codemakers and codebreakers, and the story of these battles is civilization's secret history, the hidden account of how wars were won and lost, diplomatic intrigues foiled, business secrets stolen, governments ruined, computers hacked. From the XYZ Affair to the Dreyfus Affair, from the Gallic War to the Persian Gulf, from Druidic runes and the kaballah to outer space, from the Zimmermann telegram to Enigma to the Manhattan Project, codebreaking has shaped the course of human events to an extent beyond any easy reckoning. Once a government monopoly, cryptology today touches everybody. It secures the Internet, keeps e-mail private, maintains the integrity of cash machine transactions, and scrambles TV signals on unpaid-for channels. David Kahn's The Codebreakers takes the measure of what codes and codebreaking have meant in human history in a single comprehensive account, astonishing in its scope and enthralling in its execution. Hailed upon first publication as a book likely to become the definitive work of its kind, The Codebreakers has more than lived up to that prediction: it remains unsurpassed. With a brilliant new chapter that makes use of previously classified documents to bring the book thoroughly up to date, and to explore the myriad ways computer codes and their hackers are changing all of our lives, The Codebreakers is the skeleton key to a thousand thrilling true stories of intrigue, mystery, and adventure. It is a masterpiece of the historian's art.[unquote]
Richard Burton, Bhagavanlal Indrajit, Shivaram Parashuram Bhide, 2009, The Kama Sutra of Vātsyāyana Translated From The Sanscrit In Seven Parts With Preface,Introduction and Concluding Remarks, Reprint:Cosmopoli: MDCCCLXXXIII: for the Kama Shastra Society of London and Benares, and for private circulation only.
http://www.gutenberg.org/files/27827/27827-h/27827-h.htm
Many versions of 64 arts listed by Vātsyāyana exist. One such version is excerpted below. In the list of arts mlecchita vikalpa is listed as Item 43. This signified Mleccha cipher writing, Indus Script.
CHAPTER III.
ON THE ARTS AND SCIENCES TO BE STUDIED.
The following are the arts to be studied:
1. Singing.
2. Playing on musical instruments.
3. Dancing.
4. Union of dancing, singing, and playing instrumental music.
5. Writing and drawing.
6. Tattooing.
7. Arraying and adorning an idol with rice and flowers.
8. Spreading and arraying beds or couches of flowers, or flowers upon the ground.
9. Colouring the teeth, garments, hair, nails, and bodies, i.e., staining, dyeing, colouring and painting the same.
10. Fixing stained glass into a floor.
11. The art of making beds, and spreading out carpets and cushions for reclining.
12. Playing on musical glasses filled with water.
13. Storing and accumulating water in aqueducts, cisterns and reservoirs.
14. Picture making, trimming and decorating.
15. Stringing of rosaries, necklaces, garlands and wreaths.
16. Binding of turbans and chaplets, and making crests and top-knots of flowers.
17. Scenic representations. Stage playing.
18. Art of making ear ornaments.
19. Art of preparing perfumes and odours.
20. Proper disposition of jewels and decorations, and adornment in dress.
21. Magic or sorcery.
22. Quickness of hand or manual skill.
23. Culinary art, i.e., cooking and cookery.
24. Making lemonades, sherbets, acidulated drinks, and spirituous extracts with proper flavour and colour.
25. Tailor's work and sewing.
26. Making parrots, flowers, tufts, tassels, bunches, bosses, knobs, &c., out of yarn or thread.
27. Solution of riddles, enigmas, covert speeches, verbal puzzles and enigmatical questions.
28. A game, which consisted in repeating verses, and as one person finished, another person had to commence at once, repeating another verse, beginning with the same letter with which the last speaker's verse ended, whoever failed to repeat was considered to have lost, and to be subject to pay a forfeit or stake of some kind.
29. The art of mimicry or imitation.
30. Reading, including chanting and intoning.
31. Study of sentences difficult to pronounce. It is played as a game chiefly by women and children, and consists of a difficult sentence being given, and when repeated quickly, the words are often transposed or badly pronounced.
32. Practice with sword, single stick, quarter staff, and bow and arrow.
33. Drawing inferences, reasoning or inferring.
34. Carpentry, or the work of a carpenter.
35. Architecture, or the art of building.
36. Knowledge about gold and silver coins, and jewels and gems.
37. Chemistry and mineralogy.
38. Colouring jewels, gems and beads.
39. Knowledge of mines and quarries.
40. Gardening; knowledge of treating the diseases of trees and plants, of nourishing them, and determining their ages.
41. Art of cock fighting, quail fighting and ram fighting.
42. Art of teaching parrots and starlings to speak.
43. Art of applying perfumed ointments to the body, and of dressing the hair with unguents and perfumes and braiding it.
44. The art of understanding writing in cypher, and the writing of words in a peculiar way.
45. The art of speaking by changing the forms of words. It is of various kinds. Some speak by changing the beginning and end of words, others by adding unnecessary letters between every syllable of a word, and so on.
46. Knowledge of language and of the vernacular dialects.
47. Art of making flower carriages.
48. Art of framing mystical diagrams, of addressing spells and charms, and binding armlets.
49. Mental exercises, such as completing stanzas or verses on receiving a part of them; or supplying one, two or three lines when the remaining lines are given indiscriminately from different verses, so as to make the whole an entire verse with regard to its meaning; or arranging the words of a verse written irregularly by separating the vowels from the consonants, or leaving them out altogether; or putting into verse or prose sentences represented by signs or symbols. There are many other such exercises.
50. Composing poems.
51. Knowledge of dictionaries and vocabularies.
52. Knowledge of ways of changing and disguising the appearance of persons.
53. Knowledge of the art of changing the appearance of things, such as making cotton to appear as silk, coarse and common things to appear as fine and good.
54. Various ways of gambling.
55. Art of obtaining possession of the property of others by means of muntras or incantations.
56. Skill in youthful sports.
57. Knowledge of the rules of society, and of how to pay respects and compliments to others.
58. Knowledge of the art of war, of arms, of armies, &c.
59. Knowledge of gymnastics.
60. Art of knowing the character of a man from his features.
61. Knowledge of scanning or constructing verses.
62. Arithmetical recreations.
63. Making artificial flowers.
64. Making figures and images in clay.
This is an addendum to:
Anthropomorphs as Indus Script hypertexts, professional calling cards and Copper Hoard Cultures of Ancient India https://tinyurl.com/y7qc7t73
Like the Dholavira sign board, the anthropormorph if displayed on the gateway of workers' quarters or locality is a proclamation symbol of मांझीथा Majhīthā sadya 'member of mã̄jhī boatpeople assembly (community)'. The pictrographs of young bull, ram's horns, spread legs, boar signify:
Sa Thi Ga
Ki Ma Jhi Tha
Sha (?) Da Ya
śam ña ga
kī ma jhi tha
ta ḍa ya
शं ञ ग
की म झि थ
त ड य
शं झ ग śam ña ga
की म झी थ kī ma jhi tha
Anthropomorph found in a foundation of a house in a village called Kheri Gujar in Sonepat District in Haryana. The house itself rests on an ancient mound that has been variously dated to Late Harappan. The object is about 2 kg. and has dimensions of 30×28.5 cm.
It is possible that Line 3 is a composition of Indus Script Hieroglyphs (and NOT Brāhmī syllables). Framed on this hypothesis, the message of Line 3 signifies:
mū̃h baṭa 'iron ingot',
baran, bharat 'mixed copper, zinc, tin alloy metal' and
khāṇḍā metalware.
Majitha | |
---|---|
city | |
Coordinates: 31.76°N 74.95°E | |
Country | India |
State | Punjab |
District | Amritsar |
Government | |
• Type | state government |
Population (2011) | |
• Total | 14,503 |
Languages | |
• Official | Punjabi |
Time zone | UTC+5:30 (IST) |
Majitha is a town and a municipal council in Amritsar district in the Indian state of Punjab. Majhitha Road, Amritsar-143001, Punjab
References
मृदु mṛdu 'a kind of iron'मृदु-कार्ष्णायसम्,-कृष्णायसम् soft-iron, lead.
— Slavic glosses for 'copper'
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.
मेढ mēḍha f A forked stake. Used as a post. Hence a short post generally whether forked or not. Pr.
मेढा mēḍhā A twist or tangle arising in thread or cord, a curl or snarl. (Marathi)
मेध m. the juice of meat , broth , nourishing or strengthening drink RV. S3Br. Ka1tyS3r.; a sacrificial animal , victim VS. Br. S3rS.; an animal-sacrifice , offering , oblation , any sacrifice (esp. ifc.) ib. MBh. &c
मेधा f. mental vigour or power , intelligence , prudence , wisdom (pl. products of intelligence , thoughts , opinions) RV. &c; = धन Naigh. ii , 10.
Pictograph: spread legs
Spread legs: कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic determinant) Rebus: karNa 'helmsman', karNI 'scribe, account''supercargo'.
Pictograph: Ram
मेठ a ram भेड m. a ram L. (cf. एड , भेड्र and भेण्ड)
मेंढा mēṇḍhā m (मेष S through H) A male sheep, a ram or tup. 2 A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेंढी mēṇḍhī f (मेंढा or H) A female sheep, a newe मेंढें mēṇḍhēṃ n (मेंढा) A sheep. Without reference to sex.
Ḍ. bēḍa f. ʻ sheep ʼ, K.ḍoḍ. bhĕḍă pl., L. bheḍ̠ f., awāṇ. bheḍ, bhiḍ, P. bheḍ, ˚ḍī f., ˚ḍā m.; WPah.bhal. (LSI) ḍhleḍḍ, (S. Varma) bh
Addenda: bhēḍra -- : WPah.kṭg. (kc.) bhèṛ m. ʻ sheep ʼ, bhèṛ
1) bhēḍa
आयसं, क्ली, (अयस् + अण् ।) लौहं । इतिभरतः राजनिर्घण्टश्च ॥ अयोनिर्मितादौ, त्रि ॥(यथा महाभारते, --“आयसं हृदयं मन्ये तस्य दुष्कृतकर्म्मणः” ।यथा मनुः, ८ । ३१५ ।“शक्तिं चोभयतस्तीक्ष्णामायसं दण्डमेव वा” ।रघुवंशे, १७ । ६३ ।“स चकर्ष परस्मात् तदयस्कान्त इवायसम्” ।(अयोजनितार्थे यथा, --“विपाके कटु शीतञ्च सर्व्वश्रेष्ठं तदायसम्” ॥इति वैद्यकचक्रपाणिसंग्रहे ॥)
आयसी, स्त्री, (अयसा निर्म्मिता । अयस् + अण् +ङीप् ।) लौहमयकवचः । तत्पर्य्यायः । अङ्गरक्षिणी२ जालिका ३ जालप्राया ४ । इति हेमचन्द्रः ॥
म्लिष्टं, क्ली, (म्लेच्छ् + क्तः + “क्षुब्धस्वान्तध्वान्तलग्न-म्लिष्टविरिब्धेत्यादि ।” ७ । २ । १८ । इतिनिपातितम् ।) अस्पष्टवाक्यम् । तत्पर्य्यायः ।अविस्पष्टम् २ । इत्यमरः । १ । ६ । २१ ॥ म्लिष्टः, त्रि, (म्लेच्छ + क्तः ।) अव्यक्तवाक् । म्लानः ।इति मेदिनी । टे, २५ ॥
म्लेच्छ, कि देश्योक्तौ । इति कविकल्पद्रुमः ॥ (चुरा०-वा भ्वा०-पर०-अक०-सक० च-सेट् ।) देश्याग्राम्या उक्तिर्देश्योक्तिरसंस्कृतकथनमित्यर्थः ।कि, म्लेच्छयति म्लेच्छति मूढः । अन्तर्विद्यामसौविद्बान्न म्लेच्छति धृतव्रत इति हलायुधः ॥अनेकार्थत्वादव्यक्तशब्देऽपि । तथा चामरः ।अथ म्लिष्टमविस्पष्टमिति । म्लेच्छ व्यक्तायां वाचिइति प्राञ्चः । तत्र रमानाथस्तु । म्लेच्छति वटु-र्व्यक्तं वदतीत्यर्थः । अव्यक्तायामिति पाठे कुत्-सितायां वाचीत्यर्थः ।‘तत्सादृश्यमभावश्च तदन्यत्वं तदल्पता ।अप्राशस्त्यं विरोधश्च नञर्थाः षट् प्रकीर्त्तिताः ॥’इति भाष्यवचनेन नञोऽप्राशस्त्यार्थत्वात् इतिव्याख्यानाय हलायुधोक्तमुदाहृतवान् । इतिदुर्गादासः ॥
म्लेच्छं, क्ली, (म्लेच्छस्तद्देशः उत्पत्तिस्थानत्वेना-स्त्यस्य । अर्शआद्यच् ।) हिङ्गुलम् । इतिराजनिर्घण्टः ॥ (तथास्य पर्य्यायः ।“हिङ्गुलन्दरदं म्लेच्छमिङ्गुलञ्चूर्णपारदम् ॥”इति भावप्रकाशस्य पूर्ब्बखण्डे प्रथमे भागे ॥)
म्लेच्छः, पुं, (म्लेच्छयति वा म्लेच्छति असंस्कृतंवदतीति । म्लेच्छ् + अच् ।) किरातशवरपुलि-न्दादिजातिः । इत्यमरः ॥ पामरमेदः । पाप-रक्तः । अपभाषणम् । इति मेदिनी । छे, ६ ॥म्लेच्छादीनां सर्व्वधर्म्मराहित्यमुक्तं यथा, हरि-वंशे । १४ । १५ -- १९ ।“सगरः स्वां प्रतिज्ञाञ्च गुरोर्व्वाक्यं निशम्य च ।धर्म्मं जघान तेषां वै वेशान्यत्वं चकार ह ॥अर्द्धं शकानां शिरसो मुण्डयित्वा व्यसर्जयत् ।जवनानां शिरः सर्व्वं काम्बोजानान्तथैव च ॥पारदा मुक्तकेशाश्च पह्नवाः श्मश्रुधारिणः ।निःस्वाध्यायवषट्काराः कृतास्तेन महात्मना ॥शका जवनकाम्बोजाः पारदाः पह्नवास्तथा ।कोलसप्याः समहिषा दार्व्वाश्चोलाः सकेरलाः ।सर्व्वे ते क्षत्त्रियास्तात धर्म्मस्तेषां निराकृतः ॥वशिष्ठवचनाद्राजन् सगरेण महात्मना ॥”शकानां शकदेशोद्भवानां क्षत्त्रियाणाम् । एवंजवनादीनामिति । अत्र जवनशब्दस्तद्देशोद्भव-वाची चवर्गतृतीयादिः । जवनो देशवेगिनो-रिति त्रिकाण्डशेषाभिधानदर्शनात् ॥ * ॥ तेषांम्लेच्छत्वमप्युक्तं विष्णुपुराणे । तथाकृतान् जवना-दीनुपक्रम्य ते चात्मधर्म्मपरित्यागात् म्लेच्छत्वंययुरिति । बौधायनः ।“गोमांसखादको यश्च विरुद्धं बहु भाषते ।सर्व्वाचारविहीनश्च म्लेच्छ इत्यभिधीयते ॥”इति प्रायश्चित्ततत्त्वम् ॥ * ॥अपिच । देवयान्यां ययातेर्द्वौ पुत्त्रौ यदुः तुर्चसुश्च ।शर्म्मिष्ठायां त्रयः पुत्त्राः द्रुह्युः अनुः पुरुश्च ।तत्र यदुप्रभृतयश्चत्वारः पितुराज्ञाहेलनं कृत-वन्तः पित्रा शप्ताः । ज्येष्ठपुत्त्रं यदुं शशाप तववंशे राजा चक्रवर्त्ती मा भूदिति । तुर्व्वसु-द्रुह्य्वनून् शशाप युष्माकं वंश्या वेदवाह्या म्लेच्छाभविष्यन्ति । इति श्रीभागवतमतम् ॥ * ॥(“असृजत् पह्नवान् पुच्छात् प्रस्रावाद्द्राविडान्शकान् ।योनिदेशाच्च यवनान् शकृतः शवरान् बहून् ॥मूत्रतश्चासृजत् काञ्चीञ्छरभांश्चैव पार्श्वतःपौण्ड्रान् किरातान् यवनान् सिंहलान् वर्व्वरान्खशान् ॥चियुकांश्च पुलिन्दांश्च चीनान् हूनान् सके-रलान् ।ससर्ज्ज फेनतः सा गौर्म्लेच्छान् बहुविधानपि ॥”सा वशिष्ठस्य धेनुः । इति महाभारते । १ । १७६ ।३५ -- ३७ ॥) अन्यच्च । “शकजवनकाम्बोज-पारदपह्नवा हन्यमानास्तत्कुलगुरुं वशिष्ठंशरणं ययुः । अथैतान् वशिष्ठो जीवन्मृतकान्कृत्वा सगरमाह । वत्स वत्सालमेभिर्जीवन्मृत-कैरनुसृतैः । एते च मयैव त्वत्प्रतिज्ञापालनायनिजधर्म्मद्बिजसङ्गपरित्यागं कारिताः । सतथेति तद्गुरुवचनमभिनन्द्य तेषां वेशान्य-त्वमकारयत् । जवनान्मुण्डितशिरसोऽर्द्धमुण्डान्शकान् प्रलम्बकेशान् पारदान् पह्नवांश्च श्मश्रु-धरान्निःस्वाध्यायवषट्कारानेतानन्यांश्च क्षत्त्रि-यांश्चकार । ते चात्मधर्म्मपरित्यागाद्ब्राह्मणैश्चपरित्यक्ता म्लेच्छतां ययुः ।” इति विष्णुपुराणे । ४ ।३ । १८ -- २१ ॥ * ॥ प्रकारान्तरेण तस्योत्-पत्तिर्यया, --सूत उवाच ।“वंशे स्वायम्भुवस्यासीदङ्गो नाम प्रजापतिः ।मृत्योस्तु दुहिता तेन परिणीतातिदुर्मुखी ॥सुतीर्था नाम तस्यास्तु वेनो नाम सुतःपुरा ।अधर्म्मंनिरतः कामी बलवान् वसुधाधिपः ।लोकेऽप्यधर्म्मकृज्जातः परभार्य्यापहारकः ॥धर्म्मचारप्रसिद्ध्यर्थं जगतोऽस्य महर्षिभिः ।अनुनीतोऽपि न ददावनुक्षां स यदा ततः ॥शापेन मारयित्वैनमराजकभयार्द्दिताः ।ममन्थुर्ब्राह्मणास्तस्य बलाद्देहमकल्भषाः ॥तत्कायान्मथ्यमानात्तु निपेतुर्म्लेच्छजातयः ।शरीरे मातुरंशेन कृष्णाञ्जनसमप्रभाः ॥”इति मत्स्यपुराणे । १० । ३ -- ८ ॥ * ॥म्लेच्छभाषाभ्यासनिषेधो यथा, --“न सातयेदिष्टकाभिः फलानि वै फलेन तु ।न म्लेच्छभाषां शिक्षेत नाकर्षेच्च पदासनम् ॥”इति कौर्म्म्ये उपविभागे १५ अध्यायः ॥ * ॥तस्य मध्यमा तामसी गतिर्यथा, मानवे ।१२ । ४३ ।“हस्तिनश्च तुरङ्गाश्च शूद्रा म्लेच्छाश्च गर्हिताः ।सिंहा व्याघ्रा वराहाश्च मध्यमा तामसीगतिः ॥”(मन्त्रणाकाले म्लेच्छापसारणमुक्तं यथा, मनु-संहितायाम् । ७ । १४९ ।“जडमूकान्धवधिरांस्तैर्य्यग्योनान् वयोऽति-गान् ।स्त्रीम्लेच्छव्याधितव्यङ्गान् मन्त्रकालेऽपसार-येत् ॥”“अथवा एवंविधा मन्त्रिणो न कर्त्तव्याः । बुद्धि-विभ्रमसम्भवात् ।” इति तद्भाष्ये मेधातिथिः ॥म्लेच्छानां पशुधर्म्मित्वम् । यथा, महाभारते । १ ।८४ । १५ ।“गुरुदारप्रसक्तेषु तिर्य्यग्योनिगतेषु च ।पशुधर्म्मिषु पापेषु म्लेच्छेषु त्वं भविष्यसि ॥”)
म्लेच्छकन्दः, पुं, (म्लेच्छप्रियः कन्द इति मध्यपदलोपी कर्म्मधारयः ।) लशुनम् । इति राज-निर्घण्टः ॥ (तस्य पर्य्यायो यथा, --“लशुनस्तु रसोनः स्यादुग्रगन्धो महौषधम् ।अरिष्टो म्लेच्छकन्दश्च पवनेष्टो रसोनकः ॥”इति भावप्रकाशस्य पूर्ब्बखण्डे प्रथमे भागे ॥)
म्लेच्छजातिः, स्त्री, (म्लेच्छस्य जातिरिति षष्ठी-तत्पुरुषः म्लेच्छरूपा जातिरिति कर्म्मधारयोवा ।) गोमांसखादकबहुविरुद्धभाषकसर्व्वा-चारविहीनवर्णः । यथा, --“गोमांसखादको यस्तु विरुद्धं बहु भाषते ।सर्व्वाचारविहीनश्च म्लेच्छ इत्यभिधीयते ॥”इति प्रायश्चित्ततत्त्वधृतबौधायनवचनम् ॥अपि च ।“भेदाः किरातशवरपुलिन्दा म्लेच्छजातयः ॥”इत्यमरः । २ । ४० । २० ॥अन्यच्च ।“पौण्ड्रकाश्चौड्रद्रविडाः काम्बोजा शवनाःशकाः ।पारदाः पह्नवाश्चीनाः किराताः दरदाःखशाः ॥मुखबाहूरुपज्जानां या लोके जातयो बहिः ।म्लेच्छवाचश्चार्य्यवाचः सर्व्वे ते दस्यवः स्मृताः ॥”इति मानवे १० अध्यायः ॥
म्लेच्छदेशः, पुं, (म्लेच्छानां देशः म्लेच्छप्रधानोदेशो वा ।) चातुर्व्वर्ण्यव्यवस्थादिरहित-स्थानम् । तत्पर्य्यायः । प्रत्यन्तः २ । इत्यमरः ।२ । १ । ७ ॥ भारतवर्षस्यान्तं प्रतिगःप्रत्यन्तः । म्लेच्छति शिष्टाचारहीनो भवत्यत्रम्लेच्छः अल् । स चासौ देशश्चेति म्लेच्छदेशः ।किंवा म्लेच्छयन्ति असंस्कृतं वदन्ति शिष्टा-चारहीना भवन्तीति वा पचाद्यचि म्लेच्छानीचजातयः तेषां देशो म्लेच्छदेशः । भारतवर्ष-स्यान्तः शिष्टाचाररहितः कामरूपवङ्गादिः ।उक्तञ्च ।चातुर्व्वर्ण्यव्यवस्थानं यस्मिन् देशे न विद्यते ।म्लेच्छदेशः स विज्ञेय आर्य्यावर्त्तस्ततः पर-मिति ॥”इति भरतः ॥(अपि च, मनुः । २ । २३ ।“कृष्णसारस्तु चरति मृगो यत्र स्वभावतः ।स ज्ञेयो यज्ञियो देशो म्लेच्छदेशस्ततःपरम् ॥”)
म्लेच्छभोजनं, क्ली, (भुज्यते यदिति । भुज् + कर्म्मणिल्युट् । ततो म्लेच्छानां भोजनम् ।) यावकः ।इति शब्दरत्नावली ॥
म्लेच्छभोजनः, पुं, (भुज्यतेऽसौ इति । भुज् +ल्युट् । म्लेच्छानां भोजनः । (गोधूमः । इतित्रिकाण्डशेषः ॥
म्लेच्छमण्डलं, क्ली, (म्लेच्छानां मण्डलं समूहोऽत्र ।)म्लेच्छदेशः । इति हेमचन्द्रः ॥
म्लेच्छमुखं, क्ली, (म्लेच्छे म्लेच्छदेशे मुखमुत्पत्ति-रस्य । इत्यमरटीकायां रघुनाथः ।) ताम्रम् ।इत्यमरः । २ । ९ । ९७ ॥ (तथास्य पर्य्यायः ।“ताम्रमौदुम्बरं शुल्वमुदुम्बरमपि स्मृतम् ।रविप्रियं म्लेच्छमुखं सूर्य्यपर्य्यायनामकम् ॥”इति भावप्रकाशस्य पूर्ब्बखण्डे प्रथमे भागे ॥“ताम्रमौडुम्बरं शूल्वं विद्यात् म्लेच्छमुख-न्तथा ॥”इति गारुडे २०८ अध्याये ॥)
म्लेच्छाशः, पुं, (म्लेच्छैरश्यते इति । अश् + कर्म्मणि+ घञ् ।) म्लेच्छभोजनः । गोधूमः । इतिकेचित् ॥
म्लेच्छास्यं, क्ली, (म्लेच्छे म्लेच्छदेशे आस्यमुत्पत्ति-रस्य ।) ताम्रम् । इति हारावली ॥
म्लेच्छितं, क्ली, (म्लेछ् देश्योक्तौ + क्तः ।) म्लेच्छ-भाषा । अपशब्दः । तत्पर्य्यायः । परभाषा २ ।इति हारावली ॥
विकल्पः, पुं, (विरुद्धं कल्पनमिति । वि +कृप + घञ् ।) भ्रान्तिः । (यथा, देवीभाग-वते । १ । १९ । ३२ ।“विकल्पोपहतस्त्वं वै दूरदेशमुपागतः ।न मे विकल्पसन्देहो निर्व्विकल्पोऽस्मि सर्व्वथा ॥”)कल्पनम् । इति मेदिनी । पे, ॥ (यथा, भाग-वते । ५ । १६ । २ ।“तत्रापि प्रितव्रतरथचरणपरिखातैः सप्तभिःसप्त सिन्धवः उपकॢप्ताः । यत एतस्याः सप्त-द्वीपविशेषविकल्पस्त्वया भगवन् खलु सूचितः ॥”संशयः । यथा, रघुः । १७ । ४९ ।“रात्रिन्दिवविभागेषु यथादिष्टं महीक्षिताम् ।तत्सिषेवे नियोगेन स विकल्पपराङ्मुखः ॥”नानाविधः । यथा, मनुः । ९ । २२८ ।“प्रच्छन्नं वा प्रकाशं वा तन्निषेवेत यो नरः ।तस्य दण्डविकल्पः स्याद्तथेष्टं नृपतेस्तथा ॥”)विविधकल्पः । स च द्विविधः । व्यवस्थितः ।एच्छिकश्च । सोऽप्याकाङ्क्षाविरहे युक्तः । तथाच भविष्ये ।“स्मृतिशास्त्रे विकल्पस्तु आकाङ्क्षापूरणे सति ॥”इच्छाविकल्पेऽष्टदोषाः । यथा, --“प्रमाणत्वाप्रमाणत्वपरित्यागप्रकल्पना ।प्रत्युज्जीवनहानिभ्यां प्रत्येकमष्टदोषता ॥”व्रीहिभिर्यजेत यवैर्यजेत इति श्रूयते । तत्रव्रीहिप्रयोगे प्रतीतयवप्रामाण्यपरित्यागः ।अप्रतीतयवाप्रामाण्यपरिकल्पनम् । इदन्तु पूर्ब्ब-स्मात् पृथक् वाक्यं अन्यथा समुच्चयेऽपि याग-सिद्धिः स्यात् । अतएव विकल्पे न उभयःशास्त्रार्थ इत्युक्तम् । प्रयोगान्तरे यवे उपा-दीयमाने परित्यक्तयवप्रामाण्योज्जीवनं स्वीकृत-यवाप्रामाण्यहानिरिति चत्वारो दोषाः । एवंव्रीहावपि चत्वारः । इत्यष्टौ दोषा इच्छा-विकल्पे । तथा चोक्तम् ।“एवमेवाष्टदोषोऽपि यद्व्रीहियववाक्ययोः ।विकल्प आश्रितस्तत्र गतिरन्या न विद्यते ॥”इति ॥एकार्थतया विविधं कल्प्यते इति विकल्पः ।तस्मादष्टदोषभिया उपोष्य द्वे तिथी इत्यत्रन इच्छाविकल्पः किन्तु व्यवस्थितविकल्पः ।इत्येकादशीतत्त्वम् ॥ (अवान्तरः कल्पः । यथा,भागवते । २ । ८ । ११ ।“यावान् कल्पो विकल्पो वा यथा कालोऽनु-मीयते ॥”देवता । यथा, भागवते । १० । ८५ । ११ ।“वैकारिको विकल्पानां प्रधानमनुशायि-नाम् ॥”“विविधं आधिदैवाध्यात्माधिभूतभेदेन कल्प्यन्तेइति विकल्पा देवास्तेषां कारणं वैकारिकःसात्त्विकोऽहङ्कारश्च त्वम् ॥” इति तट्टीकायांस्वामी ॥)
Reference to Dwaraka as Thuvarai in an ancient Sangam text
This Vedic expression āyasipur is consistent with the description of Dwaraka in Puṟanāṉūru as a fortification with walls made of copper (metal).
ஊருடன் இரவலர்க்கு அருளித் தேருடன்
படுமணி யானைப் பறம்பின் கோமான்
நெடுமாப் பாரி மகளிர் யானே
தந்தை தோழன் இவர் என் மகளிர்
அந்தணன் புலவன் கொண்டு வந்தனனே
நீயே வட பால் முனிவன் தடவினுள் தோன்றிச்
செம்பு புனைந்து இயற்றிய சேண் நெடும் புரிசை
உவரா ஈகைத் துவரை யாண்டு
நாற்பத்து ஒன்பது வழி முறை வந்த
வேளிருள் வேள விறல் போர் அண்ணல்
தார் அணி யானைச் சேட்டு இருங்கோவே
ஆண் கடன் உடைமையின் பாண் கடன் ஆற்றிய
ஒலியற் கண்ணிப் புலிகடிமாஅல்
யான் தர இவரைக் கொண்மதி வான் கவித்து
இரும் கடல் உடுத்த இவ் வையகத்து அரும் திறல்
பொன்படு மால் வரைக் கிழவ வென் வேல்
உடலுநர் உட்கும் தானைக்
கெடல்அரும் குரைய நாடு கிழவோயே !
If you ask who they are, they are his daughters,
he who granted cities to those who came in need
and earned great fame for gifting
a chariot to the jasmine vine to climb,
he who owned elephants with jingling bells,
the lord of Parampu, the great king Pāri.
They are my daughters now.
As for me, I am their father’s friend, a Brahmin,
a poet who has brought them here.
You are the best Vēlir of the Vēlir clan,
with a heritage of forty nine generations of Vēlirs
who gave without limits,
who ruled Thuvarai with its long walls that
seemed to be made of copper, the city that
appeared in the sacrificial pit of a northern sage (Yaja).
King who is victorious in battles!
Great king with garlanded elephants!
Pulikatimāl with a bright garland
who knows what a man’s responsibility is,
and what you can do for bards!
I am offering them. Please accept them.
Lord of the sky high mountain that yields gold!
You whose strength cannot be equaled on the earth
that is covered by an arched sky and surrounded
by the ocean, you whose army puts fear into
enemies with victorious spears!
O ruler of a land that can never be ruined!
Addendum: Thanks to Prof. BVK Sastry for a translation with comments:
Mlecchas are yavana ( communities). The yavana communities have a well established < pratishtitam> understanding of this excellent discipline < samyak- shaastram> , which is vedanga jyotisha and related ( practices). ( Internally, with in the community. in the yavana communities) , the yavana / mleccha people , learned ( in this discipline) are well honored (poojyante) . The model of honoring is on the same lines ( te api : notice the proper construction of the upasarga api) as Shistas ( = vedic community people) honor their own community learned people who specialize and practice this excellent discipline ( VEDANGA JYOTISHA). What is the reference scale to compare the honor? - < daivavad = similar to the respect shown to God= daiva). VEDANGA JYOTISHA scaled down practices did exist across the pluralistic beyond- brahmana comunities in India. The learned traditional elders were honored intra community and inside community. The standard was set by the Daivajna Brahmana. Varahamihira documents the highest standard; and not the historic social tribal practices.
"First, the languages of a Sprachbund show certain similarities in the field of phonetics, morphology, syntax and lexis. Secondly, the languages of a Sprachbund belong to different families. They are neighbouring geographically, as Trubetzkoy has show, using the example of the Balkansprachbund...In contrast to the genetically defined family of languages (genus proximum), the Sprachbund comprises a typologically defined group of geographically neighbouring language whose common features are derived from mutual influences (differentia specifica)." (Schaller, Helmut W, Roman Jakobson's conception of 'sprachbund' in: Cahiers de l'ILSL, No. 9, 1997, p.200, 202). R. Jakobson published in 1931 three articles about the question of Sprachbund. He also noted that the phonological system of Serbo-Croatian is a remnant of proto-slavic languag features.
In the context of Indo-European language family, a comparable profundity in understanding semantics is made by MB Emeneau, a co-author of Dravidian Etymological Dictionary with T. Burrow. Identifying an Indian sprachbund, Emeneau proposed in 1956 in his paper, 'India as a Linguistic Area' based on his observation that Dravidian and Indo-Aryan languages shared a number of language areal structural language features caused by sustained contact among Indo-Aryan, Dravidian, Munda and Tibeto-Burma language families. One such shared feature was reduplication of words in sentences or phrases. Within Autro-Asiatic language family for which an Etymological Dictionary is under construction in University of Hawii, Khmer (Mon–Khmer), Cham (Austronesian) and Lao (Kadai) languages have almost identical vowel systems. Sumerian and Akkadian have shared features. (Deutscher, Guy, 2007, Syntactic changes in Akkadian. Sumerian has substratum words which have parallels in Indian languages, words such as sanga 'priest' [sanghvi 'leader of pilgrims' (Gujarati)]; nangar 'carpenter', ashgab 'leather worker'. The evolution of sentential complementation, Oxford University Press, p. 20-21). This linguistic exploration of sprachbunds should go on to delineate with reasonable precision the Indian sprachbund relatable to Indus Script Corpora.
Identifying an Indian sprachbund can also be advanced by using archaeological evidences of artifacts and epigraphs. One set of epigraphs has emerged for Indian sprachbund which is composed as about 7000 epigraphs in Indus Script Corpora. For example, Brunswig et al have identified some epigraphs with or without cuneiform inscriptions which share features with Indus Script epigraphs of the corpora, say, compiled by Marshall, Mahadevan, Parpola.
Remarkable progress has been made ever since Kuiper identified a stunning array of glosses which were found in early Samskrtam and which were not explained by Indo-Aryan or Indo-European language evolution chronologies. On Munda lexemes in Sanskrit see: [F.B.J. Kuiper, Proto-Munda Words in Sanskrit, Amsterdam, Verhandeling der Koninklijke Nederlandsche Akademie Van Wetenschappen, Afd. Letterkunde, Nieuwe Reeks Deel Li, No. 3, 1948]
Indus Script Anthropomorph, Veda tradition continuum venerates sādhya, siddha, gaṇa-devatā = refined, accomplished ancestors (RV X.90.16)
This is an addendum to:Mlecchita Vikalpa of Vātsyāyana is Indus Script. म्लेच्छदेशेआयसमुत्पत्ति (इतिहारावली) , copper, alloy metal production in Mleccha (Meluhha) region https://tinyurl.com/yxe5rkeo
The anthropomorph with Indus Script hieroglyphs is the clearest archaeological evidence for the continuum of Sarasvati-Sindhu Civilization from Rgveda traditions which venerate साध्याः, gaṇa-devatā, 'celestial beings'.
ऋग्वेदः - मण्डल१० सूक्तं १०.९० नारायणः ।
\दे. पुरुषः ।अनुष्टुप्, १६ त्रिष्टुप् |
यज्ञेन यज्ञमयजन्त देवास्तानि धर्माणि प्रथमान्यासन् ।
ते ह नाकं महिमानः सचन्त यत्र पूर्वे साध्याः सन्ति देवाः ॥१६॥
पूर्व प्रपञ्चेनोक्तमर्थं संक्षिप्यात्र दर्शयति । "देवाः प्रजापतिप्राणरूपाः "यज्ञेन यथोक्तेन मानसेन संकल्पेन यज्ञं यथोक्तयज्ञस्वरूपं प्रजापतिम् "अयजन्त पूजितवन्तः । तस्मात्पूजनात “तानि प्रसिद्धानि “धर्माणि जगद्रूपविकाराणां धारकाणि "प्रथमानि मुख्यानि आसन् । एतावता सृष्टिप्रतिपादकसूक्तभागार्थः संगृहीतः । अथोपासनतत्फलानुवादकभागार्थः संगृह्यते । "यत्र यस्मिन् विराटप्राप्तिरूपे नाके "पूर्वे "साध्याः पुरातना विराडुपास्तिसाधकाः “देवाः "सन्ति तिष्ठन्ति तत् "नाकं विराट्प्राप्तिरूपं स्वर्ग “ते “महिमानः तदुपासका महात्मानः "सचन्त समवयन्ति प्राप्नुवन्ति ॥ --सायणभाष्यम्
The anthropomorph is a veneration of साध्य sādhya, 'gaṇa-devatā' celestial beings, ancestors; सायण notes: "यत्र यस्मिन् विराटप्राप्तिरूपे नाके "पूर्वे "साध्याः पुरातना विराडुपास्तिसाधकाः “देवाः "सन्ति तिष्ठन्ति तत् "नाकं विराट्प्राप्तिरूपं स्वर्ग “ते “महिमानः तदुपासका महात्मानः "सचन्त समवयन्ति प्राप्नुवन्ति ॥
Brāhmī syllables are superimposed on the Indus Script hieroglyphs of 1. boar 2. spread legs. 3. forward-thrusting, spiny-horned young bull; 4. ram which signify:
1. Boar hieroglyph: bāṛaï 'carpenter'
2. Spread legs hieroglyph: karṇaka कर्णक steersman ('spread legs')
3. Young bull 'unicorn' hieroglyph: singhin 'Forward-thrusting, spiny-horned' young bull (Santali). singi 'ornament gold'खोंड [ khōṇḍa ] m A young bull, a bullcalf. (Marathi) खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) koṇḍa 'live coals in a pit', अग्नि-कुण्ड koṇḍa, kuṇḍa, kō̃da 'sacred fire-altar'. कोंद kōnda ‘engraver' (one-horned young bull hieroglyph); kundana 'fine gold' (
मृदु mṛdu 'a kind of iron'मृदु-कार्ष्णायसम्,-कृष्णायसम् soft-iron, lead.Santali glosses.
शं ञ ग = saṁjñā -- : WPah.J. sā'n f. ʻsymbol, signʼ(CDIAL 12874)
की म झि थ = mã̄jhī boat people. A cognate word signifies boatman: *majjhika ʻ boatman ʼ. [Cf.
सड य = साध्य sādhya 'gaṇa-devatā' celestial beings. Thus, the Brāhmī inscription is a veneration of the sādhya of Rgveda RV X.90.16 whose legacy is cherished by the boat-people (Saptasindhavah region).साध्य
साध्य sādhya To be effected or accomplished, to be brought about;
Rebus: *siḍha ʻ sail ʼ. [Cf. śīta --
sādhya a mfn. to be subdued or mastered or won or managed, conquerable, amenable, MBh. ; R. &c.; to be accomplished or fulfilled or brought about or effected or attained, practicable, feasible, attainable, Mn. ; MBh. &c.; sādhya m. (pl.) ‘they that are to be propitiated’, N. of a class of celestial beings (belonging to the gaṇa-devatā q.v., sometimes mentioned in the Veda [see, RV. x, 90, 16 ]; in the ŚBr. their world is said to be above the sphere of the gods; according to Yāska [Nir. xii, 41 ] their locality is the Bhuvarloka or middle region between the earth and sun; in Mn. i, 22 , the Sādhyas are described as created after the gods with natures exquisitely refined, and in iii, 195 , as children of the Soma-sads, sons of Virāj; in the Purāṇas they are sons of Sādhyā, and their number is variously twelve or seventeen; in the later mythology they seem to be superseded by the Siddhas See siddha; and their names are Manas, Mantṛ, Prâṇa, Nara, Pāna, Vinirbhaya, Naya, Daṉśa, Nārāyaṇa, Vṛṣa, Prabhu), RV. &c. &c; sādhyā a f. N. of a daughter of Dakṣa and wife of Dharma or Manu (regarded as the mother of the Sādhyas), Hariv. ; Pur. siddha m. a Siddha or semidivine being of great purity and perfection and said to possess the eight supernatural faculties (See 2. siddhi; accord. to some, the Siddhas inhabit, together with the Munis &c., the Bhuvar-loka or atmosphere between the earth and heaven; accord. to VP. eighty-eight thousand of them occupy the regions of the sky north of the sun and south of the seven Ṛṣis; they are regarded as immortal, but only as living to the end of a Kalpa [q.v.]; in the later mythology the are some times confused with the; Sādhyas [q.v.] or take their place), ĀśvGṛ. ; MBh. &c.(Monier-Williams) siddha
1. Pa. Pk. siddha -- ʻ succeeded, perfected ʼ; K. syod
साध्यः, पुं, (साध्यमस्त्यस्येति । अर्शआदित्वादच् ।)गणदेवताविशेषः । इत्यमरः । १ । १ । १० ॥स तु द्वादशसंख्यकः । यथा, भरतः ।“साध्या द्वादशविख्याता रुद्राश्चैकादश स्मृताः ॥”तेषां नामानि यथा, --“मनो मन्ता तथा प्राणो नरोऽपानश्च वीर्य्यवान् ।विनिर्भयो नयश्चैव दसो नारायणो वृषः ।प्रभुश्चेति समाख्याताः साध्या द्वादश पौर्व्विकाः ॥”इति वह्निपुराणे गणभेदनामाध्यायः ॥ * ॥देवः । विष्कम्भादिसप्तविंशतियोगान्तर्गतैकविंश-योगः । इति मेदिनी ॥ तत्र जातफलम् ।“असाध्यसाध्यः किल साध्यजातःशूरोऽतिधीरो विजितारिपक्षः ।बुद्ध्या ह्युपायैः परिसाधितार्थःपरं कृतार्थः सुतरां विनीतः ॥”इति कोष्ठीप्रदीपः ॥साध्यः, त्रि, (साध + ण्यत् ।) साधनीयः । इतिमेदिनी ॥ यथा, --“ऋणादिषु विवादेषु स्थिरप्रायेषु निश्चितम् ।ऊने वाप्यधिके चार्थे प्रोक्ते साध्यं न सिध्यति ॥”इति मिताक्षराधृतकात्यायनवचनम् ॥साधनार्हाभिमतः । स तु पक्षः । यथा, --“प्रतिज्ञादोषनिर्म्मुक्तं साध्यं सत्कारणान्वितम् ।निश्चितं लोकसिद्धञ्च पक्षं पक्षविदो विदुः ॥”साध्यं साधनार्हाभिमतं पक्षं विदुः । यद्यप्यन्नत्रसाध्यं ज्ञाप्यं तद्विशिष्टधर्म्मी पक्ष इति भेद-स्तथाप्यत्र वाक्प्रत्याय्यर्णादिधर्म्मविशेषविशि-ष्टस्य पक्षतया धर्म्मिणोऽधमर्णपदैरेव साध्यत्वात्साध्यपक्षयोरभेदाभिधानम् । इति व्यवहार-तत्त्वम् ॥ * ॥ अनुमितिविधेयः । यथा । साध्यता-वच्छेदकमिति अनुमितिविधेयतावच्छेदक-मित्यर्थः । इति सिद्धान्तलक्षणजागदीशीटीका ॥मन्त्रविशेषः । यथा, --“नामाद्यक्षरमारभ्य यावन्मन्त्रादिमाक्षरम् ।चतुर्भिः कोष्ठैरेकैकमिति कोष्ठचतुष्टयम् ॥पुनः कोष्ठगकोष्ठेषु सव्यतो नाम्न आदितः ।सिद्धः साध्यः सुसिद्धोऽरिः क्रमाज्ज्ञेया मनी-षिभिः ॥सिद्धः सिध्यति कालेन साध्यस्तु जपहोमतः ।सुसिद्धो ग्रहणमात्रेण अरिर्मूलं निकृन्तति ॥”इति तन्त्रसारः ॥--शब्दकल्पद्रुमः
साध्य पु० सिध--णिच्--यत् । “मनोमन्ता तथा प्राणोभरोऽपानश्च वीर्य्यवान् । निर्मयो नरकश्चैव दंशो नारायणोवृषः । प्रभुश्चेति समाख्याताः साध्या द्वादश देवताः”इत्युक्ते द्वादशसंख्यके १ गणदेवताभेदे ज्यो० उक्ते विष्क-म्भादिषु योगेषु २ एकविशे योगे च । ३ साधनीये त्रि०मेदि० । ३ अष्टादशविवादेषु प्रमाणादिना उद्भाव्येपदार्थे “प्रतिज्ञादोषनिर्मुक्तं साध्यं सत्कारणान्वितम् ।निश्चितं लोकसिद्धञ्च पक्षं पक्षविदोविदुः” इत्युक्ते व्यव-हारे साधनार्हे प्रतिज्ञेये ४ पक्षे पु० “ऋणादिषु विवादेषुस्थिरप्रायेषु निश्चितम् । उने वाप्यधिके चार्थे प्रोक्तेसाध्यं न सिध्यति” कात्या० । ५ अनुमित्यासाधनीये वह्न्यादौ च यथा वह्निमान् धूमादित्यादौ सिषा-धयिषितो वह्निः साध्यः । साध्यमस्यास्ति अर्श आद्यच् ।६ साध्यवति पक्षे पु० “साध्यनिर्देशः प्रतिज्ञे” ति गौ०सूत्रम् । साध्यवत्तया पक्षनिर्देश इति दीधितिकारःतन्त्रोक्ते ७ मन्त्रमात्रे ग्राह्यमन्त्रस्य स्वानुकूलताग्राहके३८ पृ० उक्ते अकथहचक्रस्थे द्वितीयपञ्चमादिकोष्ठस्थाद्यक्ष-रके “सिद्धः साध्यः सुसिद्धोऽरिः क्रमात् ज्ञेया मनीषिभिः”इत्युक्ते ८ मन्त्रभेदे । १० देवमात्रे मेदि० । व्याकरणोक्तेलिङ्गसंख्यानन्वयिक्रियाभेदे क्रियाशब्दे २३१७ पृ० दृश्यम् ।“साध्यरूपा क्रिया तत्र धातुरूपनिबन्धना” हरिः ।“साध्यस्य साधनाकाङ्क्षा” हरिः ।--वाचस्पत्यम्
Itihāsa. Live ! A 3-D presentation, slide the graphics machine back and forth in time to see the position of planets
10 NEED-TO-KNOW THINGS ABOUT THE SOLAR SYSTEM
1. ONE OF BILLIONS
Our solar system is made up of a star, eight planets and countless smaller bodies such as dwarf...
2. MEET ME IN THE ORION ARM
Our solar system orbits the center of the Milky Way Galaxy at about 515,000 mph (828,000 kph).
3. A LONG WAY AROUND
It takes our solar system about 230 million years to complete one orbit around the galactic center.
4. SPIRALLING THROUGH SPACE
There are three general kinds of galaxies: elliptical, spiral and irregular. The Milky Way is a spiral galaxy.
5. GOOD ATMOSPHERE(S)
Our solar system is a region of space. It has no atmosphere. But it contains many worlds—including Earth—with many kinds of atmospheres.
6. MANY MOONS
7. RING WORLDS
The four giant planets—and at least one asteroid—have rings. None are as spectacular as Saturn’s gorgeous rings.
8. LEAVING THE CRADLE
More than 300 robotic spacecraft have explored destinations beyond Earth orbit, including 24 astronauts who orbited the moon.
9. LIFE AS WE KNOW IT
Our solar system is the only one known to support life. So far, we only know of life on Earth, but we’re looking for more everywhere we can.
10. FAR-RANGING ROBOTS
NASA’s Voyager 1 is the only spacecraft so far to leave our solar system. Four other spacecraft will eventually hit interstellar space.
https://solarsystem.nasa.gov/solar-system/our-solar-system/overview/
Evidence in Bogazkhoy of Meluhha speakers, artisans and Indus Script seals; āhangar, Gaṇḍabheruṇḍa 'thunderbolt maker, blacksmith'
--signified rebus by Śyena, śen (श्येन) 'eagle' on ceremonial axe-heads (ca. 2500 BCE)
--Gaṇḍabheruṇḍa means: gaṇḍau ʻancestor imageʼ bheruṇḍa 'eagle'
--Śyena, śen (श्येन) 'eagle' rebus: Āhan (आहन्) 'to attack' (RV) āhan < aśna, aśna, amhā 'stone, rock' (RV.Pali) explains the evolution of the expression āhangar 'thunderbolt maker, blacksmith'
-- Indus Script hieroglyphs read rebus on two bronze gild-silver axe-heads
-- Evidence: the stunning ceremonial axe-heads 1.silver-gilt and gold plated axe head (Met Museum); 2. inlaid with silver-bronze (ca.2500 BCE BMAC); 3. Alaca Hoyuk city gate, Turkey, 1450 BCE; 4. Double-headed eagle Stupa, Taxila; 5. Gaṇḍabheruṇḍa temple, Bellagavi (Note: gaṇḍau ʻancestor imageʼ bheruṇḍa 'eagle'bhāruṇḍa m. a partic. bird, MBh. (cf. bhāraṇḍa, bhuruṇḍa) bhāruṇḍa n. N. of various Sāmans, Viṣṇ. ; MBh. (Monier-Williams)
Bheruṇḍa (भेरुण्ड) refers to two fierce birds, according to Hemacandra’s lexical Anekārthasaṃgraha (verse 3.173cd). Bheruṇḍa.—(EI 31), a shortened form of gaṇḍabheruṇḍa (q. v.). Note: bheruṇḍa is defined in the “Indian epigraphical glossary” as it can be found on ancient inscriptions commonly written in Sanskrit, Prakrit or Dravidian languages.Bheruṇḍa (भेरुण्ड).—A bird, born of (Puna Index) Bheruṇḍa (भेरुण्ड).—[adjective] terrible, awful. [masculine] a kind of bird or beast of prey
Gaṇḍa-Bheruṇḍa is relatable to Samaveda Bhāruṇḍa Sāma, linked to RV 1.94.1 as the veneration of ancestor artificer – chariot-maker and charioteer --(producing Soma in fire-work in the sacred yajna.) Śarabha, mentioned in the ancient Gaṇḍa-Bheruṇḍa narratives is an 8 - legged composite metaphor, a form adopted by Śiva to calm down Nr̥simha the lion-man avatara of Viṣṇu. The prefix Gaṇḍa- signifies ‘ancestor image’: Kal. rumb. gaṇḍau (st. ˚ḍāl -- ) ʻ ancestor image ʼ; (CDIAL 3998) Bheruṇḍa signifies śyena ‘eagle’ aśani ‘thunderbolt’ rebus: āhangar, ahangar 'blacksmith'. (Pashto. Kashmiri). The horns of a ram on makara are rebus rendering of the medho ‘merchant’. The ancestral image is relatable to the Meluhha artificers who were present in Bogazkhoy creating the double-eagle headed Indus Script seals.
See: Sarasvati Sindhu Civilization Meluhha appellations aja ‘grandfather’, aji ‘grandmother’ mean ‘civilised’; Gaṇḍa-Bheruṇḍa signifies ancestor artificer October 18, 2020, https://tinyurl.com/y445fn9c
See: Indo-Aryan, Meluhha speakers moved into Bogazkhoy,Anatolia ca 2500 BCE; evidence of Indus Script hieroglyphs on two seals https://tinyurl.com/y7f7vtkj
The presence of double-eagle seals of Bogazkhoy. They are in Indus Script Meluhha hieroglyphs. So, Meluhha speakers who wrote Indus Script wealth accounting ledgers had moved into Bogazkoy, ca. 2500 BCE.
One seal of Bogazkhoy (now in Ankara Museum) shows two eagles + hare. kharā 'hare' Rebus: khār 'blacksmith' s'yena 'eagle' as'ani 'thunderbolt' ahangar 'blacksmith' (Pashto) P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing. and Pl.); (W.) Pl. آهن رباوي āhan-rubāwī. See اوسپنه.(Pashto)
Another shows double-eagle PLUS twist hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meḍ 'iron' (Santali) mēdhā 'dhanam'मेध'yajna, मेधा 'धन' (नैघण्टुक , commented on by यास्क, नैघण्टुक , commented on by यास्क ii,10). The epicentre of the writing system was on Sarasvati-Sindhu River Basin settlements, starting with two Mehrgarh spoked-wheel cire perdue bronze artifacts dated to ca. 6000 BCE,now in British Museum. This is quintessential Indus Script hieroglyph: څرخ ṯs̱arḵẖ, s.m. (2nd)P چرخ . A wheeled-carriage, a gun-carriage, a cart. Pl. څرخونه ṯs̱arḵẖūnah. څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel, potter'swheel (Pashto) Rebus: arka 'copper, gold'; arkasal 'goldsmith workshop'. The word tsarkh metathesis: cakra 'circle' in Indo-Aryan dialects: tarkú m.f. ʻ spindle ʼ PārGr̥., tarkuṭā -- f. Hār., ˚ṭa -- n. lex. [√tark]Pk. takku -- m. ʻ spindle ʼ, Kal.rumb. trāku, Sh. (Lor.) c̣āko; S. ṭraku f. ʻ spindle of spinning wheel ʼ(CDIAL 5717) Metath.Ta. tikiri circle, circular form, wheel, potter's wheel, the discus weapon, chariot, car. ? Ko. tayrgaṇ potter's wheel. Ka. tiguri, tigari, tiguru a wheel, esp. a potter's wheel. Tu. tagori the potter's wheel. (DEDR 3201)
--Where is the thunderbolt weapon made? In a श्येन चिति syenaciti vedi discovered in Purola,Uttarakhand.
See: Meaning of kalpa in R̥gveda; of expression कल्पन्ताम् in हिरण्यं च मे अयस् च मे यज्ञेन कल्पन्ताम् (Yajurveda 18.13) relate to metallurgy, skilled lapidary work
I submit that the expression कल्पन्ताम् in Yajurveda 18.13 read with कल्पेषु in R̥gveda 9.9.7 (interpreted by सायण as कल्पनीयेष्वहःसु) is a reference to the purification of metals in the rites, the process of yajna.In the context of Ayurveda, Caraka explains कल्प -उपनिषद् as pharmacology (Caraka 1.4.). Thus, I submit that kalpa in R̥gveda is a reference to metallurgy or material science or lapidary working with fire and materials such as the following mantra-s: stone, clay, rock, mountain, sand, herb, gold, pyrite (alloy), iron, coper, lead, tin -- all to be processed (and purified) in Yajna:
अश्मा च मे मृत्तिका च मे गिरयश् च मे पर्वताश् च मे सिकताश् च मे वनस्पतयश् च मेहिरण्यं च मे अयस् च मे श्यामं च मे लोहं च मे सीसं च मे त्रपु च मे यज्ञेन कल्पन्ताम् ॥-- शुक्लयजुर्वेदः/अध्यायः १८ वसोर्धारादि मन्त्राः १३
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; (both with n, not ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, bhal. ´tildemacrepsilon; 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.
*āhanaśālā -- ʻ blacksmith's forge ʼ? [*
P
These artifacts show Item 1: double-eagle headed artisan, a winged-tiger, a boar; 2: tiger, ibex, boar. (Double-eagle is a signifier of Indus Script rebus reading: dula 'pair' rebus: dul 'metal casting'. Thus, the blacksmith is a metalcaster'. The wings of the tiger: *skambha ʻ shoulder -- blade, wing, plumage ʼ rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236). Tiger hieroglyph: kola 'tiger' rebus kol 'working in iron' krammara 'look back' rebus: kamar 'blacksmith' Boar hieroglyph: barāh, baḍhi 'boar' Rebus: vāḍhī, bari, barea 'merchant', badhi ;worker in wood, iron'. Thus, this axe signifies a metal caster blacksmith, merchant working in wood and iron.
2. Ibex hieroglyph: Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ ‘ram’, miṇḍā́l ‘markhor’ (CDIAL 10310) Rebus: meḍ(Ho.); mẽṛhet ‘iron’ (Munda.Ho.)
Tiger looking back hieorglyph: kola 'tiger' rebus kol 'working in iron' krammara 'look back' rebus: kamar 'blacksmith'
The name of the devotee is Ajavarmarasa. Aja means ‘goat’. Hence, a goat is depicted near the left hand of Gaṇḍabheruṇḍa which holds up Ajavarmarasa, the devotee. Thus, the donor who gifted the pillar and the temple for Gaṇḍabheruṇḍa is identified by the Indus Script hieroglyph.
I suggest that the devotee is the person who commissioned the sculptural pratimaa. The Bherundeshvara Pillar, which is about 9.76 metres high. This pillar, also called Vijayastambha (pillar of victory), was installed by Chavundarayarasa, a general of the later Chalukya emperor Trailokyamalla, in commemoration of a victory, in 1047 C.E. The octagonal pillar at its top had this (mediaeval period) figure of the fabulous half human-half bird Gaṇḍabheruṇḍa. … The abacus with the image had fallen down and the image was shattered into pieces. The Mysore Archaeological Department got a replica of the old image prepared by a sculptor in the third decade of the 20th century. This new image is installed at the base of the pillar… [Information courtesy: Prof. Rajaram Hegde, _Balligave_ Bangalore: Dept. of Archaeology, Museums and Heritage, 2010.)
Śyena (श्येन).—A class of birds. A daughter named "Śyenī" was born to Kaśyapa Prajāpati by his wife Tāmrā. Śyenas were the sons of Śyenī. (Mahābhārata Ādi Parva, Chapter 66, Verse 56).
गृहंगृहमहना यात्यच्छा दिवेदिवे अधि नामा दधाना ।
सिषासन्ती द्योतना शश्वदागादग्रमग्रमिद्भजते वसूनाम् ॥४॥
"अह्ना। उषो नामैतत् । ‘अहना द्योतना' (नि. १.८.११) इति तन्नामसु पाठात् । सा देवी “दिवेदिवे प्रत्यहम्। 'दिवेदिवे द्यविद्यवि' (नि. १.९.११) इति अहर्नामसु पाठात्। "गृहंगृहं तत्तद्यज्ञगृहम् "अच्छ आभिमुख्येन याति गच्छति। कीदृशी। "अधि अधिकं "नाम नमनं प्रह्वत्वं प्रतिगृहम् उद्योगं प्रकाशनरूपं दधाना धारयन्ती । यद्वा । अधि दधाना अधिकं धारयन्ती । किंच “सिषासन्ती संभक्तुमिच्छन्ती “द्योतना कृत्स्नं जगत् द्योतनशीला "शश्वत् प्रतिदिनम् "आगात् आगच्छति । पूर्वं यातीत्युक्तत्वात् पुनः आगादिति वचनमावश्यकत्वद्योतनार्थम् । आगत्य च “वसूनां धनानां हविर्लक्षणानाम् अग्रमग्रमित् तत्तच्छ्रेष्ठभागं “भजते सेवते स्वीकरोतीत्यर्थः ॥ --सायणभाष्यम्
अस्य वामस्य पलितस्य होतुस्तस्य भ्राता मध्यमो अस्त्यश्नः ।
तृतीयो भ्राता घृतपृष्ठो अस्यात्रापश्यं विश्पतिं सप्तपुत्रम् ॥१॥ (RV 1.164.1)
अश्न त्रि० अश्नुते व्याप्नोति अश्नाति वा अश--नन् । १ व्यापनशीले २ भोजनशीले च “मृगोनाश्नो अति यज्जुगुर्य्यात्”ऋ० १ । १७३ । २ “अश्नोव्यापकः अशनशीलश्च” भा० “कर्म्मणिनन् । ३ व्याप्ते “तस्य भ्राता मध्यमो अस्त्यश्नः” ऋ० १ । १६४ । १ । “अश्नः व्याप्तः भा० ४असुरभेदे पु० मुष्णन्नुषसःसूर्य्येण स्तवानश्नस्य” ऋ० २ । २० । ५ । “अश्नुते स्वतेजशा सर्वंजगदित्यश्नः कश्चिदसुरः भा० । “अध्वर्य्यवोयः स्वश्नंजघान” ऋ० २ । १४ । ५ । ५ । करणे नन् । सोमकण्डन-प्रस्तरे । “नृभिर्धूतः सुतोश्नैरव्यो वारैः” ऋ० ८ । २ । २ ।अश्नैः अश्मभिः करणभूतैः सुतोऽध्वर्युभिरभिषुतः” भा० ।अश्नुतेऽम्बरम् । ६ मेघे निरु० ।--वाचस्पत्यम्
- नृभिर्धूतः सुतो अश्नैरव्यो वारैः परिपूतः ।
अश्वो न निक्तो नदीषु ॥२॥(RV 8.2.2) - अश्नैः अश्मभिर्ग्रावभिः करणभूतैः “सुतः अध्वर्युभिरभिषुतः “अव्यः अवेर्मेषस्य “वारैः वालैः “परिपूतः । दशापवित्रस्य नाभिभूतया ऊर्णास्तुकया हि सोमः परिपूयते । तदुक्तं भगवता आपस्तम्बेन-- शुक्लामूर्णास्तुकां यजमानाय प्रयच्छति तां शकटे दशापवित्रस्य नाभिं कुरुते शुक्लं वलक्ष्याः पवित्रममोतं भवति'इति ।-- सायणभाष्यम्
- áśman m. ʻ stone ʼ RV. Pa. amhā nom. m. ʻ stone ʼ, Ap. aṁbha -- m.(CDIAL 915)
2. G. olũ n. ʻ hailstone ʼ; -- semant. cf. dantaśarkarā<-> f. ʻ tartar on teeth ʼ: Pk. ullī -- f. ʻ tartar ʼ, Ku. ulo m., G. ol
aśna m. (cf. aśan), a stone, RV. viii, 2, 2 aśan m. (connected with √aś) ([only aśnā (instr.) and aśnas, perhaps better derived from aśman q.v., cf. Whitney's Gr. 425 e]), stone, rock, RV. x, 68, 8 a stone for slinging, missile stone, RV. ii, 30, 4 and iv, 28, 5 the firmament, RV. i, 164, i; 173, 2; x, 27, 15 [in the first two of these three passages the form aśnas has before been taken as nom. sg. m. fr. 1. aśna q.v.]
अहना स्त्री अहर्मुस्वत्वेनास्त्यस्याः अच् नि० टिलोपाद्य-भावः । ऊषायाम् निरु० । “गृहंगृहमहना यात्यच्छा” ऋ० १, १२३, ४ “अहना ऊषेति” भाष्यम् ।--वाचस्पत्यम् ūṣa dawn, daybreak (Monier-Williams)
ahanya (4) mfn. daily, RV. i, 168, 5; 190, 3; v, 48, 3. ahar n. (the weak cases come fr. ahan q.v., the middle ones fr. ahas [see below] or in RV. also fr. ahan, q.v.) a day, RV. &c.(Monier-Williams)
1) Ahan (अहन्):—n. the base of the weak and some other cases of ahar, q.v. e.g. [instrumental case] ahnā ([once ahanā, [Ṛg-veda i, 123, 4]])
2) [dative case] ahne
3) [locative case] ahan ([Vedic or Veda]) or ahani, or ahni, etc.
4) [nominative case] [dual number] ahanī (See also sub voce ahar) and [plural] ahāni
5) only [Vedic or Veda] are the middle cases of the [plural] ahabhyas ([Ṛg-veda]), ahabhis ([Ṛg-veda], nine times), and ahasu ([Ṛg-veda i, 124, 9]), while the later language forms them [from] the base ahas q.v.
6) Āhan (आहन्):—[=ā-√han] [Parasmaipada] -hanti ([imperative] ā-jahi, [Atharva-veda] etc.; [perfect tense] ā-jaghāna, [Ṛg-veda] etc.) [Ātmanepada] -hate (only if no object follows, [Pāṇini 1-3, 28], or if the object is a part of one’s own body, [Kātyāyana]; [Potential] 1. sg. -ghnīya, [Patañjali on Pāṇini 1-1, 62; Daśakumāra-carita])
—to strike at, hit, beat;
—to attack, assault, [Ṛg-veda; Taittirīya-saṃhitā; Āśvalāyana-gṛhya-sūtra; Mahābhārata; Kathāsaritsāgara] etc.: ([Ātmanepada])
—to strike one’s self (or any part of one’s body), [Bhāgavata-purāṇa; Pāṇini] and [commentator or commentary] [Bhaṭṭi-kāvya];
—to make away with one’s self, [Daśakumāra-carita 91, 15];
—to fasten, [Atharva-veda; Śatapatha-brāhmaṇa];
—to beat or cause to sound (a drum etc.), [Taittirīya-saṃhitā; Śatapatha-brāhmaṇa; Kathāsaritsāgara; Bhaṭṭi-kāvya] etc.:
—[Intensive] ā-jaṅghanti, [Ṛg-veda vi, 75, 13], to strike at or beat violently.(Monier-Williams)
Meluhha, Dānavas,Tuatha Dé Danann ca. 1897 BCE brought, together with a Śivalinga, bronze making skills to Ireland
This is an addendum to:
Matsya avatāra is a divine manifestation metaphor cognate with Indus Script aya 'fish' hieroglyph& related hypertexts https://tinyurl.com/u5jk9rx
A remarkable association of bronze-making artisan skills with Śivalinga
Matsya avtāra slaying a Dānava is a signifier of aya 'fish' rebus: ayas 'alloy metal' stage of advance in the Tin-Bronze Age.
विज्ञानं | A Scholarship Modelled On Gurukula And AtmaNirbhar -- Komerath
Atman (kośa), or Self is enveloped with five envelopments (sheaths). In Vedānta tradition, there are five envelopments of the caitanya or spirit. One of them is Vijñānamaya kośa.This deals with intellect and is associated with the organs of perception. vijñānamayakōśa (विज्ञानमयकोश).—m S The fourth of the five kōśa or envelopments of the caitanya or Spirit; viz. Sense of life in the midst of material, substantial, or real objects of knowledge. (Marathi).
Solar-powered resonators form asteroid rubble into a Space Habitat module. Force Field Tailoring circa 2003. Artwork by CSEMS scholar Waqar Zaidi
Self-help must be taught and emphasized to build well-founded confidence early. Much learning occurs outside classroom lectures. The good workplace is nearly always “cross-disciplinary”.
The National Education Policy published recently, has generated much activity to re-imagine Indian Higher Education. Since many of the recommendations there appear to be inspired by models in the United States, it may be interesting to report on one small but crucial aspect from experience is from a leading US technological institution. Namdeo[1] for instance, has written there about the idea of Internships that is actually quite active in India, as well as the USA.
H1B From The Other Side
At the turn of the Millennium, US industry demanded a large increase in H1B visas, citing the “Y2K” fear and overall shortage of STEM-trained professionals. US Congress (COTUS), in approving the increase, specified that 1/3 of H1B application fees be given to the National Science Foundation (NSF), to increase domestic supply of STEM graduates. NSF’s Division of Undergraduate Education initiated the “CSEMS” programme: Computer Science, Engineering and Mathematics Scholarships. Each institution could propose one programme of up to $100K/year for 4 years, money to be disbursed to undergraduates based on Merit and Need. A full-time student could receive the lower of $3300/yr, or their Established Need under FAFSA (Federal assessment of financial need). The expected outcome was graduation to STEM careers. Chosen disciplines were limited to CSEM.
The “Deal”
The institution could only take up to 10% of the amount as direct administrative costs, and zero Overhead. For comparison, a typical university overhead is 60% of direct cost. The PI/PD (principal investigator/director) had to be full-time academic faculty, which ruled out Administrative offices. The 10% limit dissuaded non-serious proposers.
I was allowed by our Vice-Provost (Academic) to initiate and submit a proposal from our public Type 4 (PhD-granting) university with over 10,000 undergrads spanning the technology spectrum. Some 75% of our funding came from externally sponsored research. So did much of faculty salaries. However, I knew my colleagues. Our core team had 3 AE and1 ECE faculty, plus the Director of Financial Aid Office who eagerly joined us to boost badly-needed resources.
We boldly proposed to (a) charge 0% “administrative”, leaving full $100K/year as direct scholarships, and (b) enlist several more colleagues as “Mentors” pro bono for the scholars. Both gambles worked well: at its height, over 40 of our most productive faculty across disciplines had readily accepted my “deal”: 0 pay or recognition, hard work, and the chance to mentor some excellent students. We won Phase 1, $400K, 2000-’04.
Background
Students from needy backgrounds do not have an easy time meeting fees and living expenses in US colleges. We were proud that our Institute (then) had one of the lowest fee structures in the nation. A competitive advantage was our ability to recruit students from faraway States because our “out-of-state” fees were less than their “in-state-resident” fees. Many came from families where only one parent was working, jobs in peril in a recession. Some were first-generation college entrants. Many came with feelings of inadequacy among wealthier urban peers brought up by “tech-savvy” parents. Most had to work part-time jobs for instance in grocery stores, to make ends meet. One young lady had come from the Army where she led a Patriot Surface to Air Missile battery team. She was working 40 hours a week in the evening and night at a Kroger supermarket while taking a full load of aerospace engineering classes. One of our top students, she joined my research group with a research assistantship through her Masters Degree. Another was the son of a single mother whose business had gone broke: per the FAFSA their family was well off since they owned a business, so he did not qualify for Financial Aid. He told me of staring at just a loaf of bread, aware that it had to last him a week. He too joined my research group and went on to a PhD at M.I.T. Hunger was a harsh fact of life: you see why those 40 dedicated mentors leaped at my “deal”.
Program Model
Our unique model was driven by experience and tempered by reality:
- Scholars were selected based on the interest (“fire in the belly”) that we saw in their applications including an essay on ambitions, past indicators, SAT scores and grades to-date, if any. Since all applicants had high merit, need probably weighed more. Non-merit criteria were specifically ignored. We hypothesised that with prevailing demographics of need our cohort would beat the Institute’s average in including minorities and women. We proved right – no joy there.
- Once selected, a 3.0 Grade Point Average was nominally expected for continuation, similar to our State’s “HOPE” scholarship. However, we specified a sliding scale. Disadvantaged students often suffered from “College Shock”. It was often their first exposure to demand for intense effort, not just talent. The double trauma of losing their scholarship on top of the shock on seeing their grades, and seeing the uphill climb needed to bring GPA back over 3.0, often drove students out of the institution. So we specified that following a “bad” semester, scholars had to show improvement, rather than absolute GPAs, for continuation. Mentoring was a big part of our strategy. We projected that our scholars’ GPA would well exceed the average by graduation. This too proved right, a source of pride.
- We had active research programmes into which we would have liked to bring these students (see 2 examples above). However NSF’s Undergraduate Division, endowed with a strong prejudice against “research professors”, specifically prohibited that. My pre-proposal query brought an angry response that they were trying to save students from having to work so that they could focus on studies, not get “cheap labour” for my research labs. We dealt with this as seen below.
- Each scholar, signed a condition of acceptance, to show up at least twice a semester for discussions with an assigned Mentor. This sounds trivial, but posed a big hurdle for many students, given their feelings of inadequacy that manifested as an anti-authority attitude until they learned better.
- Most riskily, we specified that each scholar had to attend at least TWO research seminars given on campus. We quickly realized that scheduling special “FAST Seminars” was a lost cause given the widely differing class schedules across different schools and classes. Instead, students had to find seminars on their own: not difficult as dozens occurred every week across campus. Students were encouraged to find seminars outside their “specialty” schools – a ploy that worked superbly as they found sparks of inspiration where they would never have ventured.
- For only first-year students, one of 2 seminars in a semester could be on Interviewing Techniques, given by the Career Placement Office. This made a big difference to many.
- Seminar attendance was proved by submitting a ½ to 1-page summary of what the student learned. This was to be in their own words (the Official Seminar Abstract was also required), with a specified format. They were strongly encouraged to talk to the presenter to gain insights. This was an exercise in listening, learning to grasp the gist of a lecture outside their classes or level, talking to an outside professional, and writing to a specified format. Many students had to go through several iterations before our colleague who read every submission would approve them.
- Mentors’ permission was required (an email) to “count” a seminar: Public relations/glitzy presentations from government agencies, companies et cetera, were specifically prohibited. Internal research seminars such as PhD Defences (and even a lecture by our School Chair!) were not counted. It had to be a research seminar delivered by an external researcher – precisely what few undergraduates would consider attending voluntarily!
- Mentors opened doors to opportunities such as Internships. Our formal Co-Op programme office coordinated work opportunities with corporations and government labs, where students alternate Work and Study semesters. Seminars opened minds and opportunities for recruitment to all such positions.
- A student who won an Internship or Co-Op arrangement was ineligible for scholarship funding that semester, but could resume when back on campus. We counted these as Successes. Any student could sign up for Research Special Problems for academic credit, leading in a following semester to one of our “President’s Undergraduate Research Awards” (PURA) – another “success” that freed funds partially to help another student. These avenues for research participation led many such students to graduate school and careers. Thus we obeyed the NSF Undergrad Division’s prejudice against “research” without letting it hinder students’ opportunities – or our ability to recruit these students into research!
Experience
- The last few items caused much stress, but our instructions to Mentors were strict. People had to learn to keep promises – or be after warnings. This occurred in about 5 to 10 cases.
- In year 2.5 (2002), NSF called. COTUS would not extend CSEMS funding, the recession cutting H1B visas. So NSF kindly asked me to submit a renewal proposal far ahead of the usual timeline, and funded it immediately for another 4 years with available funds. Performance did bring some recognition!
- We stretched 8 years’ worth of funding far beyond the 60 students that it should have funded at $3300 per student per year. The Internships, Co-Ops and research lab experiences were multipliers. We took over 200 students to STEM graduation. The vast majority went directly into STEM careers or graduate school: we did not count MBA or careers outside STEM.
- Many of those careers were well outside the chosen “specialty field” of the student’s school – a research seminar, Mentor, lab or internship/Co-Op job had opened eyes and horizons.
All Good Things Come To An End
NSF complimented us on our success. In the next iteration, with a different programme manager, they bowed to complaints from non-performing institutions. They hiked the maximum per student to $10,000/yr, and allowed a significantly larger “administrative cost”: you can guess the cut in number of students who could be helped or induced to seek external support through Internships and Co-Ops. This no doubt brought hordes of proposals, most directly from administrative offices rather than from research-productive faculty. I have not checked whether the programme still exists or thrived.
Summary Of Features For Possible Emulation
Some suggestions are given in Table 1. More details are in the 4 publications listed below.
Feature/lesson | Remarks |
Research seminars show how technical content is applied; and demand learning to absorb the gist of complex presentations. | Required finding seminars, communicating with researchers, and writing clear summaries. Severe resistance until value became clear. |
Mentorship as part of scholarships brings some good aspects of “Gurukula”. | Many with an “entitlement” view were inclined to just “take the money and run”. A “scholarship” is a valuable “hook” to convey useful traits and resources. |
Research-productive faculty should run the program, collaborating with Financial Aid and Career Counselling professionals. | Able to tackle urgent financial problems and present a unified “front” to induce compliance with official authority. |
Pressure to eschew clear writing in favor of Elevator Pitches, Podcasts, Presentations, Social Media must be rejected. | Modern students are adept with skills other than those of the reflective reading and writing, essential for success in technology. |
Review and editing of student submissions must be swift and thoughtful. | Timeliness is crucial to fairness and credibility. |
Self-help must be taught and emphasized to build well-founded confidence early. | The student’s own efforts become a force multiplier for education. |
Much learning occurs outside classroom lectures. The good workplace is nearly always “cross-disciplinary”. | We learned a great deal through the eyes of the students, about subject areas far outside our own. |
I hope that these experiences with our model will benefit teachers in India. More details can be found in the 4 publications listed below.
References
- Namdeo, S., Towards an Internship Policy in STEM. The Science Policy Forum., August 24, 2020. http://thesciencepolicyforum.org/articles/perspectives/internship/
- Komerath, N.M., et al., Mentoring Students To Technology Careers. Paper 2004-1228 Division: Minorities in Engineering, Proceedings of the ASEE Annual Conference, Salt Lake City, UT, June 2004.
- Komerath, N., McTier, et al. Partnership for Mentoring: The Georgia Tech. CSEMS Program At Age Six. Proceedings of the ASEE Annual Conference, Pittsburgh, PA, June 2008.
https://kreately.in/a-scholarship-modelled-on-gurukula-and-atmanirbhar/
Ayodhya janapada punch-marked coins 600 to 400 BCE signify signify Indus Script hieroglyphs signifying metalwork wealth
Ayodhya Janapada coins 600 to 400 BCE
The symbols on the coins are Indus Script hieroglyphs:
khambhaṛā 'fish-fin' rebus: mint; tāmarasa 'lotus flower' Rebus: tāmra 'copper'
मेढ 'Polar star' Rebus: mẽṛhẽt, meḍ 'iron' (Ho.Munda); medhā, 'yajña, dhanam'
गोटी [ gōṭī ] f (Dim. of गोटा) 'pellet, round stone' rebus: gota 'laterite, ferrite ore' गोटी [ gōṭī (Dim. of गोटा) 'A lump of silver'.
"Janapadas were realms, republics, and kingdoms that prospered during the Vedic Period into the late Bronze and Iron Ages. These Janapadas produced some the first coins in the history of India and the world. They existed between the years, 1200 BCE and 6th century BCE and comprised of a total of 56 states spread across the Indian Subcontinent. These Janapadas transformed into 16 Mahajanapadas..."
Gallery of Sarasvati Sindhu Civilization -- Kevin Standage & Rutgers U. See रत्नी ratnī 'female monkey dressed as woman' Rebus: ratna, 'gems, jewels'
She is held on a leash of a chain.रत्नी ratnī 'female monkey dressed as woman'Rebus: ratna 'gifts'; रत्निन् 'possessing or receiving gifts'. रतन ratana n (Corr. from रत्न S) A gem or jewel. रत्न ratna n (S) A gem, a jewel, a precious stone. 2 A common term for the fourteen precious things produced by the ocean when it was churned by the gods and giants. See चौदा रत्नें. 3 fig. A term of praise for an excellent thing in general, a jewel. रत्नखचित ratnakhacita a (S) रत्नजडीत a Set or studded with gems. रत्नदीप ratnadīpa m (S) A gem serving as a luminary; a radiant or light-yielding gem. Such gems are fabled to be in Pátál.(Marathi)రత్నము ratnamu. [Skt.] n. A jewel, precious stone, gem. మణి. A masterpiece of fine thing, the best of its kind of species స్వజాతి శ్రేష్ఠము, నవరత్నములు the nine precious stones, viz., మౌక్తికము a pearl, పద్మరాగము an emerald, వజ్రము a diamond. ప్రవాళము a coral, మరకతము. an emerald నీలము a sapphire, గోమేధికము an agate. పుష్యరాగము a ruby, వైడూర్యము a cat's eye. రత్నాకరము ratn-ākaramu. n. The abode of gems, that is, the ocean. సముద్రము. రత్నావళి ratnā-vaḷi. n. A necklace of gems.
rạthan र॑थ्न् or rạtan र॑त्न् । रत्नम्, रत्नभूतः m. (sg. dat. rạtnas र॑त्नस् ), a gem, jewel, precious stone (El. rattan, a ruby; Śiv. 525, 855, 1153; Rām. 15-17, 1345; K. 28, 97, 178, 183, 555, 671, 673-5, etc.; H. xii, 10, 12, 14-15, 18, 20); met. (of a person) a jewel of a person, a virtuous and popular person (cf. rāza-ro, s.v. rāza) (cf. Rām. 1345); (of a thing) the most excellent and admirable of its kind. rạtna-dīph र॑त्न-दीफ् । रत्नदीपः m. (sg. dat. -dīpas -दीपस् ), a jewelled lamp used, by Hindūs, in worship (Śiv. 108, 377). -ʦö̃gijü -च़ाँ॑गिजू॒ । नीराजना f. lustration of a god, an honoured guest, or the like, by waving a lamp over his or her head (Śiv. 1093 rạtan-ʦa). (Kashmiri)
रत्नम् ratnam रत्नम् [रमते$त्र रम्-न तान्तादेशः Uṇ.3.14] 1 A gem, jewel, a precious stone; किं रत्नमच्छा मतिः Bv.1.86; न रत्नमन्विष्यति मृग्यते हि तत् Ku.5.45. (The ratnasare said to be either five, nine or fourteen; see the words पञ्चरत्न, नवरत्न, and चतुर्दशरत्न respectively.) -2 Anything valuable or precious, any dear treasure. -3 Anything best or excellent of its kind; (mostly at the end of comp.); जातौ जातौ यदुत्कृष्टं तद् रत्नमभिधीयते Malli; कन्यारत्नमयोनिजन्म भवतामास्ते वयं चार्थिनः Mv.1.3; अग्रेसरीभवतु काञ्चनचक्ररत्नम् Nāg.5.37; so पुत्र˚, स्त्री˚ V.4.25; अपत्य˚ &c. -4 A magnet.(Apte)
देवजी or देवजीधसाडा dēvajī or dēvajīdhasāḍā or ड्या m A name given to the male monkey (in monkey-sports) which is accoutred as a man. The female is termed रत्नी. 2 Hence An ugly and awkward fellow. रत्नी ratnī f (रत्न) In monkey-sports. A term given to the female monkey habited as a woman.(Marathi)
One of the four panels of tributes from Musri recorded on Shalamaneser III Black Obelisk.(827 BCE)Apart from sakea (animal with horn), there are other animals -- camels with two humps, river-ox, susu, elephant, monkeys, apes -- in the four sculptural frieze registers in row 3 of the Black obelisk of Shalamaneser III are also hieroglyphs which signify in Meluhha (Indian sprachbund, 'language union') tributes of wealth.
rátna n. ʻ gift ʼ RV., ʻ treasure, jewel ʼ Mn. [√raṇ 1 ] Pa. ratana -- n. ʻ jewel ʼ, Pk. rayaṇa -- , ladaṇa -- m.n., Si. ruvan -- a.(CDIAL 10600) ratnākara m. ʻ jewel -- mine, ocean ʼ Kāv. [rátna -- , ākara -- ]
Pa. ratanākara -- m. ʻ mine of jewels or precious metals ʼ, Pk. rayanāara -- m.; -- Si. ruvanāra ʻ ocean ʼ (EGS 148) prob. ← Pa.(CDIAL 10601) रत्न n. ( √1. रा) a gift , present , goods , wealth , riches RV. AV. S3Br.; a magnet , loadstone Kap. Sch. (cf. मणि); रत्न--हविस् n. a partic. oblation in the राजसूय (having reference to persons who may be reckoned among a king's most valuable treasures) Ka1tyS3r. (cf. रत्न्/इन्). रत्निन् mfn. possessing or receiving gifts RV.; m. pl. N. of certain persons in whose dwelling the रत्न-हविस् (q.v.) is offered by a king (viz. the ब्राह्मण , राजन्य , महिषी , परिवृक्ती , सेना-नी , सूत ,ग्राम-णी , क्षत्तृ , संग्रहीतृ , भाग-दुघ , and अक्षावाप) TBr. S3Br.( °नि-त्व n. TBr. )This is the figure of रत्नी ratnī a monkey dressed as woman:
Ratana1 (nt.) [cp. Vedic ratna, gift; the BSk. form is ratna (Divy 26) as well as ratana (AvŚ ii. 199)] 1. (lit.) a gem, jewel VvA 321 (not=ratana2, as Hardy in Index); PvA 53 (nānāvidhāni). -- The 7 ratanas are enumd under veḷuriya (Miln 267). They are (the precious minerals) suvaṇṇa, rajata, muttā, maṇi, veḷuriya, vajira, pavāḷa. (So at Abhp 490.) These 7 are said to be used in the outfit of a ship to give it more splendour: J ii. 112. The 7 (unspecified) are mentioned at Th 2, 487 (satta ratanāni vasseyya vuṭṭhimā "all seven kinds of gems"); and at DhA i. 274, where it is said of a ratana -- maṇḍapa that in it there were raised flags "sattaratana -- mayā." On ratana in similes see J.P.T.S. 1909, 127. -- 2. (fig.) treasure, gem of ( -- ˚) Sn 836 (etādisaŋ r.=dibb' itthi -- ratana SnA 544); Miln 262 (dussa˚ a very fine garment). -- Usually as a set of 7 valuables, belonging to the throne (the empire) of a (world -- ) king. Thus at D ii. 16 sq.; of Mahā -- Sudassana D ii. 172 sq. They are enumd singly as follows: the wheel (cakka) D ii. 172 sq., the elephant (hatthi, called Uposatha) D ii. 174, 187, 197; the horse (assa, Valāhaka) ibid.; the gem (maṇi) D ii. 175, 187; the woman (itthi) ibid.; the treasurer (gahapati) D ii. 176, 188; the adviser (pariṇāyaka) ibid. The same 7 are enumd at D i. 89; Sn p. 106; DA i. 250; also at J iv. 232, where their origins (homes) are given as: cakka˚ out of Cakkadaha; hatthi from the Uposatha -- race; assa˚ from the clan of Valāhassarāja, maṇi˚ from Vepulla, and the last 3 without specification. See also remarks on gahapati. Kern, Toev. s. v. ratana suspects the latter to be originally "major domus" (cp. his attributes as "wealthy" at MVastu i. 108). As to the exact meaning of pariṇāyaka he is doubtful, which mythical tradition has obscured. -- The 7 (moral) ratanas at S ii. 217 & iii. 83 are probably the same as are given in detail at Miln 336, viz. the 5: sīla˚, samādhi˚, paññā˚, vimutti˚, vimutti -- ñāṇadassana (also given under the collective name sīla -- kkhandha or dhamma -- kkhandha), to which are added the 2: paṭisambhidā˚ & bojjhanga˚. These 7 are probably meant at PvA 66, where it is said that Sakka "endowed their house with the 7 jewels" (sattar. -- bharitaŋ katvā). -- Very frequent is a Triad of Gems (ratana -- ttaya), consisting of Dhamma, Sangha, Buddha, or the Doctrine, the Church and the Buddha [cp. BSk. ratna -- traya Divy 481], e. g. Mhvs 5, 81; VbhA 284; VvA 123; PvA 1, 49, 141. -- ākara a pearl -- mine, a mine of precious metals Th 1, 1049; J ii. 414; vi. 459; Dpvs i. 18. -- kūṭa a jewelled top DhA i. 159. -- paliveṭhana a wrapper for a gem or jewel Pug 34. -- vara the best of gems Sn 683 (=vararatana -- bhūta SnA 486). -- sutta the Suttanta of the (3) Treasures (viz. Dhamma, Sangha, Buddha), representing Sutta Nipāta ii. 1 (P.T.S. ed. pp. 39 -- 42), mentioned as a parittā at Vism 414 (with 4 others) and at Miln 150 (with 5 others), cp. KhA 63; SnA 201. (Pali)
She is held on a leash of a chain.रत्नी ratnī 'female monkey dressed as woman'Rebus: ratna 'gifts'; रत्निन् 'possessing or receiving gifts'. रतन ratana n (Corr. from रत्न S) A gem or jewel. रत्न ratna n (S) A gem, a jewel, a precious stone. 2 A common term for the fourteen precious things produced by the ocean when it was churned by the gods and giants. See चौदा रत्नें. 3 fig. A term of praise for an excellent thing in general, a jewel. रत्नखचित ratnakhacita a (S) रत्नजडीत a Set or studded with gems. रत्नदीप ratnadīpa m (S) A gem serving as a luminary; a radiant or light-yielding gem. Such gems are fabled to be in Pátál.(Marathi)రత్నము ratnamu. [Skt.] n. A jewel, precious stone, gem. మణి. A masterpiece of fine thing, the best of its kind of species స్వజాతి శ్రేష్ఠము, నవరత్నములు the nine precious stones, viz., మౌక్తికము a pearl, పద్మరాగము an emerald, వజ్రము a diamond. ప్రవాళము a coral, మరకతము. an emerald నీలము a sapphire, గోమేధికము an agate. పుష్యరాగము a ruby, వైడూర్యము a cat's eye. రత్నాకరము ratn-ākaramu. n. The abode of gems, that is, the ocean. సముద్రము. రత్నావళి ratnā-vaḷi. n. A necklace of gems.
rạthan
रत्नम् ratnam रत्नम् [रमते$त्र रम्-न तान्तादेशः Uṇ.3.14] 1 A gem, jewel, a precious stone; किं रत्नमच्छा मतिः Bv.1.86; न रत्नमन्विष्यति मृग्यते हि तत् Ku.5.45. (The ratnasare said to be either five, nine or fourteen; see the
देवजी or देवजीधसाडा dēvajī or dēvajīdhasāḍā or ड्या m A name given to the male monkey (in monkey-sports) which is accoutred as a man. The female is termed रत्नी. 2 Hence An ugly and awkward fellow. रत्नी ratnī f (रत्न) In monkey-sports. A term given to the female monkey habited as a woman.(Marathi)
One of the four panels of tributes from Musri recorded on Shalamaneser III Black Obelisk.(827 BCE)Apart from sakea (animal with horn), there are other animals -- camels with two humps, river-ox, susu, elephant, monkeys, apes -- in the four sculptural frieze registers in row 3 of the Black obelisk of Shalamaneser III are also hieroglyphs which signify in Meluhha (Indian sprachbund, 'language union') tributes of wealth.
rátna n. ʻ gift ʼ RV., ʻ treasure, jewel ʼ Mn. [√
Pa. ratanākara -- m. ʻ mine of jewels or precious metals ʼ, Pk. rayanāara -- m.; -- Si. ruvanāra ʻ ocean ʼ (EGS 148) prob. ← Pa.(CDIAL 10601) रत्न n. ( √1. रा) a gift , present , goods , wealth , riches RV. AV. S3Br.; a magnet , loadstone Kap. Sch. (cf. मणि); रत्न--हविस् n. a partic. oblation in the राजसूय (having reference to persons who may be reckoned among a king's most valuable treasures) Ka1tyS3r. (cf. रत्न्/इन्). रत्निन् mfn. possessing or receiving gifts RV.; m. pl. N. of certain persons in whose dwelling the रत्न-हविस् (q.v.) is offered by a king (viz. the ब्राह्मण , राजन्य , महिषी , परिवृक्ती , सेना-नी , सूत ,ग्राम-णी , क्षत्तृ , संग्रहीतृ , भाग-दुघ , and अक्षावाप) TBr. S3Br.( °नि-त्व n. TBr. )
- Stone and terracotta human figurines
Mohenjo-daro – circa 2300 – 1750 B.CE.
Another famous sculpture is a red jasper torso of a male, which was discovered near a granary at Harappa by Shri Vats during his 1928-29 excavations.
Dated to 2200-1900 B.C. and standing at just 9.5cm tall, both legs, arms and the head are now missing, and even the genitals have been defaced. On each shoulder there is a tube drill, the function of which remains unknown but may have been for the fixing of garments or ornaments to the sculpture. The carving has an incredibly naturalistic feel to it, the muscle definition and flesh has been expertly fashioned. I have to confess that this piece looks like it has been distinctly influenced by Greek art, which was common in north-west India in the centuries after Alexander. I do wonder if this artifact was recovered from an archaeologically secure context.
To conclude the human figurine section is a mask, and a couple of wonderful figurines depicting yogic postures.
Proto-Shiva ?
Many excavations at Indus Valley Civilization sites have yielded partly cylindrical or conical shapes of various sizes, fashioned out of sandstone, shell, alabaster, paste or ceramics. Although their specific use remains uncertain, most scholars agree that they symbolise the phallus (lingam) and represent a proto-shiva concept.
Animal Figurines
In addition to the human figurines, excavations have also unearthed a vast array of ceramic animal representations. These include bull, buffalo, elephant, dog, deer, monkey and birds. None of these representations are very naturalistic or artistic, so would again appear to be symbolic in nature.
Seals
Thousands of seals have been found so far from excavations at many different Indus Valley Civilization sites. It is thought they played an important role as the mode for transactions, highlighting a vibrant local and long distance trading network.
The seals are predominantly 2.5cm square, although cylindrical, rectangular and round-shaped seals also exist in the archaeological record. The fabrics are mostly steatite, but seals made from schist, limestone, wood, bone, ivory, metal and terracotta were also produced.
Usually the seals depict standing animals as the main motif, with about 60% showing what appears to be a unicorn. Other animals depicted include humped bulls, buffalo, antelopes, rhinoceros, tigers, elephants, and human figures with horns.
It is on these seals that we find the enigmatic Indus script, which has yet to be successfully deciphered. Many scholars have claimed to successfully crack the script, starting as early as 1925 when it was proposed to be based on the Sumerian language. But with about 5,000 examples of Indus text existing from recovered artifacts and the decades of research directed towards deciphering them, nobody has thus far come up with a compelling and accepted solution.
The Harappa and Mohenjo-daro sites account for 85% of Indus script discovered thus far. Of that sample, 60% are from seals, but frustratingly 40% of these are duplicate inscriptions. So the number and variety of Indus scripts are in fact quite limited, and deciphering is further hindered by the length of these scripts. Many consist of just a single character, the average length is less than four characters, and the longest has only 26 characters.
Pottery
As is often the case at archaeological sites, pottery is the most tangible evidence of human occupation, and the Harappan settlements are no exception. The higher quality pottery is wheel-made, fine and sturdy, having a surface treatment of slip and often decorated in black.
The storage jars are big and heavy vessels, often decorated, and most likely used for the storage of grains and liquids such as oil.
Some of the pottery has lovely geometric designs applied in black to the exterior (known as polychrome). Other examples incorporate the use of colour, with red/orange and yellow being the most commonly applied pigments (known as polychrome)
The Harappan pottery collection within the gallery also includes some perforated jars. These are long cylindrical vessels, pierced from the outside and slightly tapering towards a slightly out-curved rim. They were probably used as filters, with three or four jars placed inside one another with a large outer storage jar at the bottom. The perforated jars would have been filled with charcoal, sand or pebbles to filter the liquid a number of times before being collected in the storage jar at the bottom.
Toys and Games
The Harappan Gallery has a very small collection of artifacts that have been identified as toys. In particular is one figurine from Kalibangan, where an animal is shown with a moveable head, fixed to the body by a thread.
Other toys include miniature representations of carts and possibly ploughs, showing how perfuse trade and potentially agriculture was in the community. If anyone was to excavate my parents back garden in 4000 years time I’m sure they would unearth toy cars, busses, diggers and so forth. The survival of these ceramic toys is invaluable in giving us an insight into such activities, as their full-size counterparts are largely missing from the archaeological record.
There is also much evidence of games from the Indus Valley Sites. A large number of small carved stone objects have been identified as gamesmen, with evidence of gaming boards made on bricks or fired clay, and even dice. It’s highly likely some of these gamesmen were used in an early form of chess, which was perhaps a favourite pastime.
Bronze Artifacts
A wonderful example of bronze work comes from Daimabad, the southern-most archaeological site of the Indus Valley Civilization. It lies on the left bank of River Pravara, a tributary of Godavari River, in Maharashtra. The site was discovered by B. P. Bopardikar in 1958, and later excavated by teams of the Archaeological Survey of India. The site reveals that late Harappan civilization extended to Deccan plateau.
The most interesting discovery from this site was not from the archaeologists at all, but was made by the members of the Bhil community. They found four bronze artifacts; ‘Diamabad man’ (a sculpture of a chariot, pulled by two ox’s, driven by a man), a water buffalo, an elephant, and a rhinoceros.
The Diamabad man is one of the most interesting and intriguing objects ever found in the excavations of Indus Valley Civilization sites.
Jewellery, Weights and Measures
Bead-making was clearly a craft the Indus Valley Civilization excelled at. The variety of raw materials, techniques and styles used were unparalleled. The beads would have required a small cylindrical stone drill in order to perforate the semi-precious stones. Beads made from steatite, agate, carnelian, chalcedony, lapis lazuli, terracotta, shell, copper, silver and gold have been discovered.
Bead making factories have been found at Lothal and Chanudaro, with in-situ tools, furnaces, and beads in different stages of production.
The discovery of many cubical weights made from chert suggests a sophisticated economy, perhaps used for weighing precious stones, metals, perfumes and other highly valuable items. Recent excavations at Harappa discovered a very high concentration of weights just inside the city gateway, which may suggest that this was where goods coming into the city were weighed and taxed.
"That concludes my short virtual tour of the impressive and sometimes enigmatic artifacts housed within the Harappan Gallery at the National Museum in Delhi.
By 2002, over 1,000 Mature Harappan cities and settlements had been reported across India and Pakistan, of which only a hundred have been excavated. I believe our understanding of this civilization is very much in its infancy, and as time progresses and archaeological techniques improve we will come to learn much more about the significance of these sites on a global stage."
Devi Mahatmyam – An Ancient Hindu Text Encoding Profound And Futuristic Brain Science? -- Anand Venkatrama
Indus Script hieroglyphs on Chandraketugarh terracotta tablet, ca. 1st cent. BCE signifies work in iron, wood
An aristocratic family of Ancient Bengal. Terracotta. Obtained from Chandraketugarh, North 24 Parganas. ~ First century B.C.E. I submit that the seated person and the couple are armourers of Bronze Age.
The hieroglyphs are:
kola 'woman' rebus: kol 'working in iron'
Horn of a ram: Hieroglyph: ram, markhor: Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ ‘ram’, miṇḍā́l ‘markhor’ (CDIAL 10310) Rebus: meḍ(Ho.); mẽṛhet ‘iron’ (Munda.Ho.)
Meluhha rebus reading of the boar is: baḍhia 'a boar' rebus: baḍhi 'worker in iron and wood', baḍhoria 'expert in working in wood'.বরা2 barā2: the boar, the hog.বরাহ barāha: the boar, the hog; the third incarnation of Vishnu (বিষ্ণু) when he slew Bara (বরা) the demon. fem. বরাহী the sow (Bengali) baḍaga 'artisan'. బత్తుడు.
battuḍu 'a guild, title of goldsmiths' baḍaga 'a professional title of five artificers'. In Sanskrit, the refined etymon is: varāha. Varāha [Vedic varāha & varāhu, freq. in Rigveda] a boar, wild hog Dh 325=Th 1, 17; J v. 406=vi. 277; Miln 364; Sdhp 378.(Pali) varāhá -- , varāˊhu -- m. ʻ wild boar ʼ RV. Pa. Pk. varāha -- m. ʻ boar ʼ; A. B. barā ʻ boar ʼ (A. also ʻ sow, pig ʼ), Or. barāha, (Sambhalpur) barhā, (other dial.) bā̆rihā, bāriā, H. bā̆rāh m., Si. varā. varāhamūla -- .varāhamūla n. ʻ name of a place in Kashmir ʼ Rājat. [varāhá -- , mūˊla -- ?] K. warahmul ʻ a town at west end of the valley of Kashmir ʼ.(CDIAL 11325, 11326) warāh वराह॒ । सूकरः m. a boar, pig (wild or domesticated); the third, or boar, incarnation of Vishnu (Śiv. 856).(Kashmiri) See the pronunciation variants of the semantics of 'boar' in Indian sprachbund (speech union) or Indian Linguistic Area.
Hieroglyph: dwarf seated at the bottom register: kharva 'dwarf' rebus: karb 'iron'Hieroglyph: eagle: aśan, śyena, sena 'eagle' rebus: sena 'thunderbolt' ahangar 'blacksmith' ahan 'iron'Hieroglyph: duck: karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi)
Gardez Mahāvināyaka, पांड्या pāṇḍyā 'customs registrar' (Indus Script cipher); Kangi-ten, Binayaka-ten is a divinity of wealth venerated by merchants
Gardez Mahāvināyaka wears a पाण्ड्वम् pāṇḍvam An uncoloured woollen garment (Apte) pāṇḍva n. an uncoloured woollen garment, ŚBr. pāṇḍva
m. pl. N. of a people in Madhya-deśa (v.r. for pāṇḍu and °ḍya), Var. (Monier-Williams) Pāṇḍya (पाण्ड्य) was one of the four sons of King Janāpīḍa. His janapada was the Pāṇḍyas.Pāṇḍya (पाण्ड्य).—A King of Vidarbha who was a great devotee of Śiva. One day while he was performing Śivapūjā at dusk he heard a loud noise outside the city and before completing the worship he went out and faced the enemies who were attempting to enter the city and killed its leader. He returned after the fight and without completing the worship took his meals. It was a sin to do so and the King was therefore born in his next birth as Satyaratha, a King, and was killed by his enemies. (Śatarudrasaṃhitā, Śiva Purāṇa). (See full article at Story of Pāṇḍya from the Puranic encyclopaedia by Vettam Mani) In the Raghuvaṃśa (VI. 59-60), Kālidāsa mentions Uragapura as the capital of the Pandya king.
Gardez MahāVināyaka wears, in addition to a cobra as a yajnopavītam, a remarkably unique garment embellished with the figure of a tiger-cub and tiger-paw are Indus Script hieroglyphs. What are these called by Meluhha speakers of Sarasvati-Sindhu Civilization? See:
Third Rosetta stone for Indus Script decipherment: Gardez MahāVināyaka pratimā with Brāhmī inscription https://tinyurl.com/y67lrjq6
Pāṇḍyā पांड्या 1) Indus Script hieroglyph‘feline cub’ rebus customs registrar of Sarasvati-Sindhu Civilization; 2) Āy-Vēḷir, Ahir, Yādava, Ābhira, वृष्णि vṛṣṇi of Dvāraka https://tinyurl.com/y5oavsgu
Brāhmī inscription on the base details provenance (such as consecration by Shahi King Khingala) and name of the divinity. The Indus Script hieroglyphs of the pratimā are:
1. Wicker-basket crown
2. cobra hood on yajnopavītam (sacred thread)
3. feline (tiger or lion) cub on the garment
4. feline (tiger or lion) paw on the garment
4. protome (face profile) of elephant ligatured to a kharva 'dwarf' rebus: karb 'iron'
All four hieroglyphs are Meluhha rebus renderings of metalwork. The hieroglyphs explain why Gaṇeśa is worshipped in the metaphor of a scribe. फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of) phaḍā,paṭṭaḍe'metals manufactory'.Gaṇeśa signified by फड, ‘a cobrahood’ on his body (cf. Mahāvināyaka, Gardez), is the फडनिशी or सीphaḍaniśī or sī f The office or business of फडनीस. फडनीस phaḍanīsa 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.
kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith. panja 'claw of beast, feline paw' rebus: panja 'kiln'.
karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron'
karibha, ibha 'elephant' rebus: karba, ib 'iron'; ib 'stylus' (as in English nib of stylus).
Tiger cub shown on Gardez Vināyaka is rebus
Another name for Vināyaka is tri-dhatu (Three mineral ores: poḷa, bichi, goṭa 'magnetite, haematite, laterite ferrite ores) Another name for Gaṇeśa tri-dhātu, 'three minerals'.
5th cent. CE Gardez marble statue of the elephant-headed Gaṇeśa from Gardez, consecrated by King "Khingala"
Pāṇḍya coin ca. 200 BCE signifies Indus Script copper, iron smelter
The Nataraja And Epilepsy: An Interpretation Of The Cosmic Dancer -- Anand Venkatraman. ātman and cit, 'principle of life, sensation and consciousness'
Śiva Sutra 17 reads
1.17 Right discernment is the knowledge of the self. वितर्क आत्मज्ञानम्॥१७॥ Alternative translation: The discernment of natures is the cognizance of ātman
This is the quintessential significance of the Cosmic Dance of Śiva which is explained as "Pratyabhijnā (Sanskrit: प्रत्यभिज्ञा pratyabhijñā, lit. "re-cognition") is an idealistic monistic
and theistic school of philosophy in Kashmir Śaivism, originating in the 9th century CE...Etymologically, Pratyabhijnā is formed from prati – "something once known, now appearing as forgotten", abhi – "immediate" and jñā – "to know". So, the meaning is direct knowledge of one's self, recognition. The philosophy is continuation of the Vedic knowledge.,,The central thesis of this philosophy is that everything is Śiva, absolute consciousness, and it is possible to re-cognize this fundamental reality and be freed from limitations, identified with Śiva and immersed in bliss. Thus, the slave (pasu - the human condition) becomes the master (pati - the divine condition)." (Jaideva Singh. Pratyabhijñāhrdayam, p.117; S. Kapoor. The Philosophy of Saivism, p.254).
.This is the closest we get to a link between the ātman and Cit, 'principle of life, sensation and consciousness'.
This is an addendum to
1. Neuoscience. Is cit computable? No, says Subhash Kak in Neuroquantology. Is ātmā identified? Artificial thought, life or Apasmāra is impossible.
http://bharatkalyan97.blogspot.com/2019/06/neuoscience-is-cit-computable-no-says.html
2. Śiva Sūtrāṇi of Vasugupta. Commentaries by Subhash Kak (2018) & Pavel Celba (2009). Dance-step intimations from Indus Script
https://bharatkalyan97.blogspot.com/2018/06/siva-sutrani-of-vasugupta-commentaries.html?
The little demon crushed under Nataraja’s foot doesn’t attract attention, but there may be something very significant to it – perhaps a link to epilepsy and consequently, memory, and consciousness.
Do you think the Nataraja is the most stunning creation of Indian art? If so, you would be in good company. Aldous Huxley, one of the greatest Western thinkers of the twentieth century, included this vivid poem to the dancing Shiva in his final book, Island.
Explaining śvātram in the context of Soma processing = kṣipram, Nir. v, 3 = शीघ्रम्, 'quick, speedy' = dhana, Naigh. ii, 10 = अपस् 'sacred yajna, work, action'
ता ऽअस्मभ्यम् अयक्ष्माऽ अनमीवा ऽअनागसः स्वदन्तु देवीर् अमृता ऽ ऋतावृधः ॥
Free from all sin and malady and sickness, may they be pleasant to our taste, divine Ones, immortal, strengtheners of eternal Order. (In this translation, Griffith translates śvātra as 'refreshing'
४.१२ श्वात्राः पीता भवत यूयमापो इति-
एका साधना श्वा साधना अस्ति, एका अश्वा, अद्यैव। सोमयागे उद्देश्यं भवति यत् सर्वस्य सोमस्य परिष्कारं अद्यैव भवतु, न श्वकाले। किन्तु व्यावहारिकरूपेण अयं संभवं नास्ति। अतएव, तृतीयसवनकालोपरान्तं यस्य सोमस्य परिष्कारं न भवति, तस्य परिष्कारं श्वकाले करणीयं भवति। दीक्षायाः संदर्भे अपसः अपेक्षा अस्ति यत् ते श्वात्राः भवन्तु। ऋग्वेदे अग्नि, सोमादिभ्यः अपि अपेक्षा अस्ति यत् ते श्वात्राः भवन्तु।
शुक्लयजुर्वेदस्य ६.३४ मन्त्रमस्ति –
श्वात्रा स्थ वृत्रतुरो राधोगूर्ता ऽ अमृतस्य पत्नीः ।
ता देवीर् देवत्रेमं यज्ञं नयतोपहूताः सोमस्य पिबत ॥
अस्य महीधरभाष्यम् श्वात्राशब्दस्य नवीनालोकनं करोति। सोमयागे क्रीतसोमस्य यः प्रस्थः भवति, सोमाभिषवणतः प्राक् तस्य अभिसिञ्चनं भवति। होतृचमसे वसतीवरीसंज्ञकपात्रतः जलं गृह्णन्ति एवं तेन अभिसेचनं कुर्वन्ति। अस्य कृत्यस्य संज्ञा निग्राभ्या प्रयोगः अस्ति। ...
क्षिप्र न० क्षिप--रक् । १ शीघ्रे क्रियाविशेषणत्वे क्लीवता “क्षिप्रंततोऽध्वन्यतुरङ्गयायी” भट्टिः । २ तद्वति त्रि० । “अति क्षिप्रेवविध्यति” ऋ० ४ । ८ । ८ । “पुष्याश्विन्यभिजिद्धस्ता लघु क्षिप्रंगुरुस्तथा” ज्यो० उक्ते पुष्यादिषु ३ नक्षत्रेषु “रिक्ताभौ-मघटान् विना च विपणी मित्रध्रुवक्षिप्रभे” मुहु० चि०४ शीघ्रगे त्रि० “ऋतज्येन क्षिप्रेण धन्वना” ऋ० २ । २४ । ५ ।ततः अतिशायने इष्ठन् ईयसुन् रलोपे गुणः । क्षेपिष्ठक्षेपीयस् अतिशयशीघ्रे त्रि० “वायुर्वै क्षेपिष्ठा देवता”श्रुतिः इयसुनि स्त्रियां ङीप् । क्षेपीयसी ।क्षिप्रकारिन् त्रि० क्षिप्रं करोति कृ--णिनि । (चालाक)शीघ्रक्रियाकारके ।क्षिप्रपाकिन् पु० क्षिप्रं शीघ्रं पच्यते पच--बा० घिणुन् ।(गन्धभादिलिया) १ द्रुमभेदे रत्नमा० । २ शीघ्रपाकवति त्रि०क्षिप्रहोम पु० क्षिप्रं हूयते हु--मन् । सायं प्रातःकर्त्तव्ये होमेतद्विवृतिः सं० त० “द्विविधा होमा याज्ञिकप्रसिद्धाःक्षिप्रहोमास्तन्त्रहोमाश्च । तत्र क्षिप्रहोमाः क्षिप्रं हूयन्तइति व्युत्पत्त्या सायंप्रातर्होमादयः । तन्त्रहोमाश्चपरिसमूहनबर्हिरास्तरणाद्यङ्गविस्तारयुक्ताः । अत्र ये समिद्ध-विस्कास्तन्त्रहोमाः यश्च सुखप्रसवार्थं सोष्यन्तीहोमस्तेषुयेषाञ्च वैश्वदेवसायंप्रातर्होमादीनामेतदिध्माख्यं द्रव्यं उपरिपश्चात् अथ इध्मानुकल्पयेत इत्यनेन सूत्रेणोक्तं तेषु वातत्सदृशेषु क्षिप्रहोमेषु इध्मस्य निवृत्तिर्भवेदिति” ।तत्र विशेषमाह व्यासः “दग्धे गृहे न कुर्वीत क्षिप्रहो-मे त्विदं द्वयम्” द्वयं परिसमूहनमास्तरणं चेति । “विरूपक्षच न जपेत् प्रणवञ्च बिवर्जयेत् “क्षिप्रहोमेषु अव्राह्मणेषुसायं प्रातःशेष्यन्तीहोमादिषु ब्राह्मणम्” इमं स्तोममर्हतेइत्यादिमन्त्रकरणं वा परिसमूहनं न कुर्य्यात्” । --वाचस्पत्यम्
क्षिप्रं, क्ली, (क्षिप् + “स्फायितञ्चिवञ्चीति” । उणां२ । १३ । इति रक् ।) शीघ्रम् । तद्युक्ते त्रि ।इत्यमरः । १ । २ । ६८ ॥ (यथा, मनुः । ३ ।१७९ । “विनाशं व्रजति क्षिप्रमामपात्रमिवा-म्भसि” ॥ मर्म्मविशेषः । यथा, -- “तत्र पादाङ्गु-ष्ठाङ्गुल्योर्मध्ये क्षिप्रं नाम मर्म्म तत्र विद्धस्याक्षेप-केण मरणम्” ॥ इति सुश्रुते शारीरस्थाने षष्ठे-ऽध्याये ॥)क्षिप्रपाकी, [न्] पुं, (क्षिप्रं पच्यतेऽनेन । क्षिप्रंपचति पाचयति वा । पच् + बाहुलकात् घिनुण् ।)गर्द्दभाण्डवृक्षः । इति रत्नमाला ॥ (ज्ञातव्या गर्द्द-भाण्डशब्दे ऽस्य गुणपर्य्यायाः ॥) शीघ्रपाकविशिष्ठेत्रि ॥ --शब्दकल्पद्रुमः
Arguments for the identification of Meluhha as the lingua franca of Sarasvati Sindhu Civilization and used on Indus Script inscriptions
1. Meluhha is mentioned as mleccha in ancient texts including Mahabharata where Vidura and Yudhishthira converse in Mlecch, says the Epic. I have argued that Mlecchita Vikalpa mentioned by Vatsyayana in Vidyaasamuddesa is Meluhha cipher or writing system of mleccha 'copper workers'. Seals are meant to record technical specifications of bills of lading of cargo for barter.
Hypertexting is an innovation in Indus Script writing system, some examples of rebus Meluhha wealth accounting ledgers
A superb advance in the writing technology is achieved. The device in writing figures or pictures is to combine pictures to signify Meluhha expressions. Dramatic evidence comes from many seals where combinations of hieroglyphs are displayed as 'hypertexts' to convey a catalogue of wealth resources as wealth accounting ledger entries by karanaka 'accountant, scribe'. Some examples: