Interpretation of Mayā's dream in Bauddham
-- A continuum in use of Meluhha hieroglyphs of Sarasvati-Sindhu civilization of the bronze age Ancient Near East
Abstract
Mayā's dream is a sacred, hallowed tradition in Bauddham and the narrative is revered in ancient sculptures and ancient texts. This tradition is further elaborated by the use of Meluhha hieroglyphs which are read rebus, validating the Meluhha hieroglyph cipher for the ancient, unambiguous vernacular of Indian sprachbund.
Argument
The monograph posits the artistic tradition and related select epigraphs (including hieroglyphs associated with Mother Mayā's dream) in Brahmi, as validation of Meluhha hieroglyphs in ancient writing of Sarasvati-Sindhu civilization, depicting Maya's dream in sculptures and texts of Bauddham tradition.
The central thesis is: many hieroglyphs rendered on the 'Maya's dream sculptures' are a continuum of the Meluhha hieroglyphs (aka Indus writing).
The cipher of Meluhha hieroglyphs posits kaṇḍa kanka hieroglyph to be read rebus: scribe (on) stone, account. kaṇḍa denotes both 'furnace' and 'stone'. kanka denotes 'scribe's profession, account'.
Segments of the sculpture showing: 1. scribe; 2. stacks of straw asociated with epigraphs (incribed ovals -- cartouches -- atop the stacks) and the row of seated artisans. There are two hieroglyphs on these segments: 1. scribe; 2. straw-stacks. Both can be read as Meluhha hieroglyphs.
The scribe shown on Amaravati sculpture is kaṇḍa kanka 'stone scribe'. The gloss is reinforced by the hieroglyph: stack of straw: kaṇḍa (See Meluhha glosses from Indian sprachbund appended).
Maya is a Koliya, i.e. she is a kole, a community working in iron. kol ‘working in iron’ (Tamil).
The crocodile ligatured to the bull is: kāru ‘crocodile’ Rebus: khar ‘blacksmith’ (Kashmiri) ayakara'fish+crocodile' rebus: 'metal-smith'. adar 'zebu' rebus: aduru'unsmelted metal or ore' (Kannada) aduru native metal (Ka.); ayil iron (Ta.) ayir, ayiram any ore (Ma.); ajirda karba very hard iron (Tu.)(DEDR 192). aduru = gaṇiyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace.[i][i] Kannada. Siddhānti Subrahmaṇya śāstri’s new interpretation of the Amarakośa, Bangalore,Vicaradarpana Press, 1872, p. 330.
Note: In this remarkable ligature, the crocodile+fish hieroglyphs are NOT ligatured to the trunk of an elephant because the scribe wants to precisely communicate the nature of the profession of the artisan guild involved with the prayer to the Buddha narrating his birth. If the elephant was intended, the rebus readings would have included: ibha'elephant' (Samskrtam) ibbo 'merchant' (Hemacandra Desināmamāla -Gujarati) ib'iron' (Santali).
Note: In this remarkable ligature, the crocodile+fish hieroglyphs are NOT ligatured to the trunk of an elephant because the scribe wants to precisely communicate the nature of the profession of the artisan guild involved with the prayer to the Buddha narrating his birth. If the elephant was intended, the rebus readings would have included: ibha'elephant' (Samskrtam) ibbo 'merchant' (Hemacandra Desināmamāla -Gujarati) ib'iron' (Santali).
Vikalpa: the bull is: ḍangar 'bull' Rebus: dhangar‘blacksmith’ (Maithili) ḍangar‘blacksmith’ (Hindi).
The two antelopes joined back-to-back: pusht ‘back’; rebus: pusht ‘ancestor’. pus̱ẖt bah pus̱ẖt ‘generation to generation.’ The ram could also be denoted by ṭagara‘antelope’; takar, n. [தகர் T. tagaru, K. tagar.] 1. Sheep; ஆட்டின்பொது. (திவா.) 2. Ram; செம் மறியாட்டுக்கடா. (திவா.) பொருநகர் தாக்கற்குப் பேருந் தகைத்து (குறள், 486). Rebus:ṭagara‘tin’. dula ‘pair’ (Kashmiri); rebus: dul 'cast metal’ (Munda). Thus the pair of antelopes on the top register denotes: tin smith artisan, dul ṭagara 'cast tin'.
The associated hieroglyphs, in the context of depicting the narratives of Maya's dream, in particular (and their rebus readings) which are elaborated further in this monograph pointing to a continuum of writing systems from the days of Meluhha hieroglyphs (aka Indus writing) are:
- stack of straw
- scribe
- bull ligatured to makara (crocodile + fish tail)
- antelopes ligatured back-to-back
Maya had a dream in which she saw an elephant. King Śuddhodana and his soothsayers interpreted the dream that she would bear a son who with detached passion would satisfy the world with sweetness of his ambrosia.
Amaravati. Portion of narrative frieze depicting Maya's Dream. ca. second century CE, 101 CE - 200 CE H - ca. 12.50 in Madras Government Museum, Madras, Tamil Nadu, India.
Peshawar sculptural fragment depicting Maya's Dream. Kusana. a. mid-first to mid-third century CE, 50 CE - 250 CE grey stone H - ca. 5.00 in Indian Museum, Calcutta, West Bengal, India
North West Frontier relief sculpture fragment Maya's Dream Kusana ca. 1st c.-2nd c. CE, 100 BCE - 300 CE grey schist H - ca. 5.50 in National Museum, Karachi, Pakistan
Sarnath. Buddha life scenes. ca. fifth century CE, 401 CE - 500 CE buff sandstoneH - ca. 35.13 in W - ca. 19.50 inNational Museum, New Delhi, India. The bottom register to the left, interprets Maya's dream. Descent of the elephant.
Bharhut stupa. Inscription in Brahmi. brown sandstone Sunga ca. 100-80 BCE, 100 BCE - 80 BCE Indian Museum, Calcutta, West Bengal, India. Bottom register shows descent of elephant in Maya's dream.
Detail of the top of the sandstone Vedica pillar, half-roundel at top of vedika pillar with composite creatures in relief:
Detail of the roundel:
Borobodur Indonesia 3rd level (gallery); volcanic rock; wall east side, south end Maya's dream bove: Queen Maya dreams (from Lalitavistara); below: Sudhana learns about Manohara from his mother (from Jataka). Saildendra Dynasty (778- 926) ca. late 8th century CE, 750 CE - 799 CE
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A makara and merchant Ship Scene, Borobudur  |
Interpretation of Maya's dream by a Brahman. Borobodur Indonesia Above: a brahman interprets Queen Maya's dream (from Lalitavistara); below: Sudhana visits King Druma (from Jataka)
Buddha annunciates in the form of Maha Maya's dream in which Maya sees a white elephant descending from the skies to enter her womb. The would-be son was to be a Universal Emperor or a Buddha. Dream turned into reality, she goes to her parents in Devahrada, the child Gautama is born as she supports herself by the branch of a tree in Lumbini park and the Buddha was turning the wheel to be Lord.
Queen Maha Maya was the daughter of King Anjana of the Koliyas. The Koliyan princess was named Maha Maya. Maya and Suddhodana ruled over the Sakyas, a warrior tribe living next to the Koliya tribe, in the north of India, in what is now known as Nepal.
Interpreting the dream, Bauddham literature has this narrative:
"(Queen Maya)...had a vivid dream. She felt herself being carried away by four devas (spirits) to Lake Anotatta in the Himalayas. After bathing her in the lake, the devas clothed her in heavenly cloths, anointed her with perfumes, and bedecked her with divine flowers. Soon after a white elephant, holding a white lotus flower in its trunk, appeared and went round her three times, entering her womb through her right side. Finally the elephant disappeared and the queen awoke, knowing she had been delivered an important message, as the elephant is a symbol of greatness in Nepal. The next day, early in the morning, the queen told the king about the dream. The king was puzzled and sent for some wise men to discover the meaning of the dream.The wise men said, "Your Majesty, you are very lucky. The devas have chosen our queen as the mother of the Purest-One and the child will become a very great being." The king and queen were very happy when they heard this. They were so pleased that they invited many of the noblemen in the country to the palace to a feast to tell them the good news. Even the needy were not forgotten. Food and clothes were given to the poor people in celebration. The whole kingdom waited eagerly for the birth of the new prince, and Queen Maya enjoyed a happy and healthy pregnancy, living a pure life for herself and her unborn child."
http://www.buddhanet.net/e-learning/buddhism/lifebuddha/1lbud.htm
The dream is rendered as a metaphor in texts and in sculptures. One sculptural representation comes with every book from Sahitya Akademi, India with a note:
The sculpture reproduced on the end-paper depicts a scene where three soothsayers are interpreting to King Suddhodana the dream of Queen Maya, mother of Lord Buddha. Below them is seated a scribe recording the interpretation. This is perhaps the earliest available pictorial record of the art of writing in India.
From Nagarjunakonda, 2nd Century CE
Courtesy: National Museum, New Delhi.
![[Sahitya Akademi_dream_of_queen_maya.jpg]](http://1.bp.blogspot.com/_zfDuy4-yDB8/S3D0eHNWs2I/AAAAAAAAE4w/LeapHKHr18c/s640/Sahitya+Akademi_dream_of_queen_maya.jpg)
"The Dream of Queen Maya" Sanchi Stupa torana, 1st c. Dream of elephant entering by her side:
Musée des Arts Asiatiques de San Francisco Asie du Sud jusqu'en 600 Asie du Sud (Inde - Pakistan - Bangladesh - Sri Lanka) Troisième étage - Section 1 Sept scènes de la vie de Bouddha Elément 7 sur 28 Arts d'Extrême-Orient Sculpture (Bas-relief) 28 cm X 25 cm X 5 cm Object ID: B64S5 Avery Brundage Collection. Gandhara.Designation: The Conception of the Buddha-to-be in Queen Maya's dream. "And lying down on the royal couch, Queen Maya fell asleep and dreamed the following dream: Four guardian angels came and lifted her up, together with her couch, and took her away to the Himalaya Mountains. . . . Now the Buddha-to-be had become a superb white elephant and was wandering about at no great distance. . . . And three times he walked round his mother's couch, with his right side towards it, and striking her on her right side, he seemed to enter her womb. Thus the conception took place in the Midsummer Festival." (Adapted from Henry Clark Warren's 1896 translation of an ancient Buddhist text)
Queen Māyā's white elephant dream, and the conception of the Buddha. Gandhara, 2-3rd century CE.
Ananda temple revering the Buddha's life. Stone sculpture. Southeast of Tharabar gate. 1105 CE. Region: Old Bagan, Myanmar. (King Kyanzittha). 
The descent of Buddha, Bharhut. British Library. Beglar, Joseph David, 1875
Buddha's birth (Bharhut) Brahmi text: bhagavato rukdanta. Gen. Cunningham reads the letters as Bhagavato okkanti (?ukkanti); thus, the text simply says: 'descent of the blessed one'. Association with the elephant in Maya's dream may be a figure of speech to explain the incarnation, avatāra. General Cunning-ham says of the description placed above this sculpture : ' Above it
in large characters is inscribed Bhagavato rukdanta, which may perhaps be translated, "Buddha as the sounding elephant," from ru, to sound, to make a particular sort of sound.' Now the first word of the inscription is in the genitive case, so that if the second word could mean an elephant, the whole would signify, ' The Buddha's elephant.' But the characters which General Cunningham reads rukdanta are, I venture to suggest, okkanti (^ ukkanti); and the inscription simply says, ' The descent of the blessed One.' As I have pointed out in 'Buddhism' (Cunningham, Alexander, 1879, The stupa of Bharhut: a Buddhist monument ornamented with numerous sculptures illustrative of Buddhist legend and history in the 3rd century BCE, Published by order of the Secretary of State for India in Council, London, WH Allen and Co., p.184).
This interpretation of the Brahmi text is rejected by Rhys Davids.
Brahmi inscription says okkanti, NOT rukdanti (falsely claimed by Cunningham)
"Plate xxviii has a scene entitled Bhagavato Okkanti (The descent of the blessed one), in illustration of Mayaa Devi's dream...Footnote 7: General Cunningham's reading of this inscription as Bhagavato rukdanta seems to me to be incorrect, and his translation of it ('Buddha as the sounding elephant') to be grammatically impossible."(Davids, TW Rhys, Buddhist birth-stories (Jataka tales): the commentarial introduction entitled Nidaana Kathaa, the story of the lineage, translated from Prof. V. Fausboll's edition of the Pali text by TW Rhys Davids, London, George Rouledge and Sons, New York: EP Dutton and Co., p. 248)
Gloss: okkanti explained in Pali:
Avakkanti (f.) [fr. avakkamati] entry, appearance, coming down into, opportunity for rebirth S ii.66 (nāmarūpassa); iii.46 (pañcannaŋ indriyānaŋ); Pug 13 (= okkantinibbatti pātubhāvo PugA 184); Kvu 142 (nāmarūpassa); Miln 123 (gabbhassa). Okkanta [pp. of okkamati] coming on, approaching, taking place D ii.12; Miln 299 (middhe okkante).
āˊkramatē ʻ approaches ʼ RV., ʻ ascends ʼ AV., ʻ seizes ʼ MBh.[√kram ] Pa. akkamati ʻapproaches, treads on, attacks ʼ; Pk. akkamaï ʻ presses, attacks ʼ; N. ã̄knu ʻ to venture, dare ʼ (?); Si. äkmenavā ʻ to be crushed, be seized ʼ der. tr. (CDIAL 1017).
Okkanti (f.) [fr. okkamati] entry (lit. descent), appearance, coming to be. Usually in stock phrase jāṭi sañjāti o. nibbatti M iii. 249; S ii. 3; iii. 225; Nd2 257; Pug A 184. Also in gabbh˚ entry into the womb DA i. 130. Okkantika (adj.) [fr. okkanti] coming into existence again and again, recurring. Only as epithet of pīti, joy. The opposite is khaṇika, momentary Vism 143 = DhsA 115 (Expositor153 trsls. "flooding"). Okkanta [pp. of okkamati] coming on,approaching, taking place D ii. 12; Miln 299 (middhe okkante).The author of the translation of Lalita-vistara, Rajendralal Mitra comments about the references to Buddha as 'Bhagavato':
"Bhagavan, nominative singular of the crude form Bhagavat -- Bhagava, Pali, Btchcom Idandasa, Tibetan. The technology of the Buddhists is to a great extent borrowed from the literature of the Brahmans. The Vija-mantra of Buddha begins with Om, their metaphysical terms are exclusively Hindu, and the names of most of their divinities are taken from the Hindu pantheon.
The word Bhagavan, which, according to the Abhidharma-kosha-vyakhya, a Bauddha work of great repute, "is not an arbitrary or superflous, but the most appropriate title of Buddha," has been, by the Vedas, used to designate the Deity's self. It is said in the Vishnu Purana, in accordance with the interpretation of Yaksa, that, "the essence of the Supreme is defined by the term Bhagavan: the word Bhagavan is the denomination of the primeval and eternal god: and he who fully understands the meaning of that expression is possessed of holy wisdom, the sum and substance of the three Vedas. The word Bhagavan is a convenient form to be used in the adoration of that Supreme Being, to whom no terms is applicable, and therefore Bhagavan expresses that supreme spirit, which is individual, almighty, and the cause of all things."
The dissyllable Bhaga indicates the six properties, dominion, might, glory, splendour, wisdom, and dispassion. The purport of that va is that elemental spirit in which all beings exist, and which exists in all beings." (The usual itymon of the word, however, is Bhaga with the possessive affix.) "This word, therefore, which is the general denomination of an adorable object, is not used in reference to the Supreme in a general, but a special signification. When applied to any other (person) it is used in its customary or general import. In the latter case, it may purport one who knows the origin and end and revolutions of beings, and what is wisdom, what ignorance. In the former it denotes wisdom, energy, dominion, might, glory, without end, and without defect.
All the Sutras invest S'akya Sinha with this title, and, next to Tathagata, it is perhaps the most common appellation of Buddha."
Lalitavistara (trans. "The Play in Full" or "Extensive Play"): Chapter 6 The Bodhisattva enters into the human world via the womb of Queen Māyā, where he resides for the duration of the pregnancy within a beautiful temple, enjoying the happiness of absorption. On Lalitavistara: http://www.ibiblio.org/radha/rpub007.htm
The birth of the Buddha is described in Chapter 6 ६ गर्भावक्रान्तिपरिवर्तः षष्ठः 6 garbhāvakrāntiparivartaḥ ṣaṣṭhaḥ| That is, the incarnation in birth.
Maya's dream is part of many narratives. One such narrative is: The Illustrated Jataka & Other Stories of the Buddha by C.B. Varma excerpted:
"The day when the Buddha was to be conceived she kept fast; and at night she had a dream. In her dream she saw that the four devas, called the Chatumaharajas, took her to the Himava and placed her on a bed under a Sal tree. Then the wives of the devas came and bathed her in the Lake Anottata and dressed her in divine robes. They then took her to a golden palace and laid her in a magnificent couch, where the Bodhisatta in the form of a white elephant holding a white lotus in his resplendent trunk entered her womb through her right side. That was a full-moon day of Uttara Asalha to mark the beginning of a seven-day festival. She, too, had participated in the festival. Furthermore, on that day she did not sleep with her husband.
Mahamaya musing at her dream
"Next day, she told the dream to the king, who in turn consulted the court astrologers, and from them heard the prophecy that the child would either be universal monarch or a Buddha."
King Suddhodana and Mahamaya analysing the dream
Jatakanidana50 also has an account of Maya's dream.
A red sandstone head of the Buddha from Mathura, 2nd Century CE.
Encyclopaedia Britannica reproduces the following images:
Maha Maya dreaming of the white elephant, Gandhara relief, 2nd century CE; in the British Museum.
Another version of the birth in sculpture:
6 garbhāvakrāntiparivartaḥ ṣaṣṭhaḥ|
iti hi bhikṣavaḥ śiśirakālavinirgate vaiśākhamāse viśākhānakṣatrānugate ṛtupravare vasantakālasamaye taruvarapatrākīrṇe varapravarapuṣpasaṁkusumite śītoṣṇatamorajovigate mṛduśādvale susaṁsthite tribhuvanajyeṣṭho lokamahito vyavalokya ṛtukālasamaye pañcadaśyāṁ pūrṇamāsyāṁ poṣadhagṛhītāyā mātuḥ puṣyanakṣatrayogena bodhisattvastuṣitavarabhavanāccyutvā smṛtaḥ saṁprajānan pāṇḍuro gajapoto bhūtvā ṣaḍdanta indragopakaśirāḥ suvarṇarājīdantaḥ sarvāṅgapratyaṅgo'hīnendriyo jananyā dakṣiṇāyāṁ kukṣāvavakrāmat| avakrāntaśca sa dakṣiṇāvacaro'bhūnna jātu vāmāvacaraḥ| māyādevī sukhaśayanaprasuptā imaṁ svapnamapaśyat—
himarajatanibhaśca ṣaḍviṣāṇaḥ
sucaraṇa cārubhujaḥ suraktaśīrṣaḥ|
udaramupagato gajapradhāno
lalitagatirdṛḍhavajragātrasaṁdhiḥ||1||
na ca mama sukha jātu evarūpaṁ
dṛṣṭamapi śrutaṁ nāpi cānubhūtam|
kāyasukhacittasaukhyabhāvā
yathariva dhyānasamāhitā abhūvam||2||
atha khalu māyādevī ābharaṇavigalitavasanā prahlāditakāyacittā prītiprāmodyaprasādapratilabdhā śayanavaratalādutthāya nārīgaṇaparivṛtā puraskṛtā prāsādavaraśikharādavatīrya yenāśokavanikā tenopajagāma| sā aśokavanikāyāṁ sukhopaviṣṭā rājñaḥ śuddhodanasya dūtaṁ preṣayati sma-āgacchatu devo devī te draṣṭukāmeti||
atha sa rājā śuddhodanastadvacanaṁ śrutvā praharṣitamanā ākampitaśarīro bhadrāsanādutthāya amātyanaigamapārṣadyabandhujanaparivṛto yenāśokavanikā tenopasaṁkrāmat, upasaṁkrāntaśca na śaknoti sma aśokavanikāṁ praveṣṭum| gurutaramivātmānaṁ manyate sma| aśokavanikādvāre sthito muhūrtaṁ saṁcintya tasyāṁ velāyāmimāṁ gāthāmabhāṣata—
na smari raṇaśauṇḍi mūrdhasaṁsthasya mahyam
eva guru śarīraṁ manyamī yādṛśo'dya|
svakulagṛhamadya na prabhomi praveṣṭuṁ
kimiha mama bhave'ṅgo kānva pṛccheya cāham||3|| iti||
atha khalu śuddhāvāsakāyikā devaputrā gaganatalagatā ardhakāyamabhinirmāya rājānaṁ gāthayādhyabhāṣanta—
vratatapaguṇayuktastisralokeṣu pūjyo
maitrakaruṇalābhī puṇyajñānābhiṣiktaḥ|
tuṣitapuri cyavitvā bodhisattvo mahātmā
nṛpati tava sutatvaṁ māyakukṣaupapannaḥ||4||
daśanakha tada kṛtvā svaṁ śiraṁ kampayanto
nṛpatiranupraviṣṭaścitrikārānuyuktaḥ|
māya tada nirīkṣya mānadarpopanītāṁ
vadahi kurumi kiṁ te kiṁ prayogo bhaṇāhi||5||
devyāha—
himarajatanikāśaścandrasūryātirekaḥ
sucaraṇa suvibhaktaḥ ṣaḍviṣāṇo mahātmā|
gajavaru dṛḍhasaṁdhirvajrakalpaḥ surūpaḥ
udari mama praviṣṭastasya hetuṁ śruṇuṣva||6||
vitimira trisahasrāṁ paśyamī bhrājamānāṁ
devanayuta devā ye stuvantī sayānā|
na ca mama khiladoṣo naiva roṣo na moho
dhyānasukhasamaṅgī jānamī śāntacittā||7||
sādhu nṛpati śīghraṁ brāhmaṇānānayāsmin
vedasupinapāṭhā ye gṛheṣū vidhijñāḥ|
supinu mama hi yemaṁ vyākarī tattvayuktaṁ
kimida mama bhaveyā śreyu pāpaṁ kulasya||8||
vacanamimu śruṇitvā pārthivastatkṣaṇena
brāhmaṇa kṛtavedānānayacchāstrapāṭhān|
māya purata sthitvā brāhmaṇānāmavocat
supina mayi ha dṛṣṭastasya hetuṁ śṛṇotha||9||
brāhmaṇā āhuḥ-brūhi devi tvayā kīdṛśaṁ svapnaṁ dṛṣṭam| śrutvā jñāsyāmaḥ|
devyāha—
himarajatanikāśaścandrasūryātirekaḥ
sucaraṇa suvibhaktaḥ ṣaḍviṣāṇo mahātmā|
gajavaru dṛḍhasaṁdhirvajrakalpaḥ surūpaḥ
udari mama praviṣṭastasya hetuṁ śṛṇotha||10||
vacanamimu śruṇitvā brāhmaṇā evamāhuḥ
prīti vipula cintyā nāsti pāpaṁ kulasya|
putra tava janesī lakṣaṇairbhūṣitāṅgaṁ
rājakulakulīnaṁ cakravarti mahātmaṁ||11||
sa ca pura vijahitvā kāmarājyaṁ ca gehaṁ
pravrajita nirapekṣaḥ sarvalokānukampī|
buddho bhavati eṣo dakṣiṇīyastriloke
amṛtarasavareṇā tarpayet sarvalokam||12||
vyākaritva giraṁ saumyāṁ bhuktvā pārthivabhojanam|
ācchādanāni codgṛhya prakrāntā brāhmaṇāstataḥ||13||
iti hi bhikṣavo rājā śuddhodano brāhmaṇebhyo lakṣaṇanaimittikavaipañcakebhyaḥ svapnādhyāyīpāṭhakebhyaḥ pratiśrutya hṛṣṭastuṣṭa udagra āttamanāḥ pramuditaḥ prītisaumanasyajātastān brāhmaṇān prabhūtena khādanīyabhojanīyāsvādanīyena saṁtarpya saṁpravāryācchādanāni ca datvā visarjayati sma| tasyāṁ velāyāṁ kapilavastuni mahānagare caturṣu nagaradvāreṣu sarvanagaracatvaraśṛṅgāṭakeṣu ca dānaṁ dāpayati sma annamannārthikebhyaḥ, pānaṁ pānārthikebhyaḥ, vastrāṇi vastrārthikebhyaḥ, yānāni yānārthikebhyaḥ| evaṁ gandhamālyavilepanaśayyopāśrayaṁ prājīvikaṁ prājīvikārthibhyo yāvadeva bodhisattvasya pūjākarmaṇe||
atha khalu bhikṣavo rājñaḥ śuddhodanasyaitadabhavat- katamasmin gṛhe māyādevī sukhamanupakliṣṭā viharediti| atha tatkṣaṇameva catvāro mahārājāno rājānaṁ śuddhodanamupasaṁkramyaivamāhuḥ—
alpotsuko deva bhava sukhaṁ tiṣṭha upekṣako|
vayaṁ hi bodhisattvasya veśma vai māpayāmahe||14||
atha khalu śakro devānāmindro rājānaṁ śuddhodanamupasaṁkramyaivamāha—
hīnā vimānā pālānāṁ trayatriṁśānamuttamāḥ|
vaijayantasamaṁ veśma bodhisattvasya dāmyaham||15||
atha khalu suyāmo devaputro rājānaṁ śuddhodanamusaṁkramyaivamāha—
madīyaṁ bhavanaṁ dṛṣṭvā vismitāḥ śakrakoṭayaḥ|
suyāmabhavanaṁ śrīmadbodhisattvasya dāmyaham||16||
atha khalu saṁtuṣito devaputro rājānaṁ śuddhodanamupasaṁkramyaivamāha—
yatraiva uṣitaḥ pūrvaṁ tuṣiteṣu mahāyaśāḥ|
tadeva bhavanaṁ ramyaṁ bodhisattvasya dāmyaham||17||
atha khalu sunirmito devaputro rājānaṁ śuddhodanamupasaṁkramyaivamāha—
manomayamahaṁ śrīmadvaśma tadratanāmayam|
bodhisattvasya pūjārthamupaneṣyāmi pārthiva||18||
atha khalu paranirmitavaśavartī devaputro rājānaṁ śuddhodanamupasaṁkramyaivamāha—
yāvantaḥ kāmadhātusthā vimānāḥ śobhanāḥ kvacit|
bhābhiste madvimānasya bhavantyabhihataprabhāḥ||19||
tat prayacchāmyahaṁ śrīmadveśma ratnamayaṁ śubham|
bodhisattvasya pūjārthamānayiṣyāmi pārthiva||20||
divyaiḥ puṣpaiḥ samākīrṇaṁ divyagandhopavāsitam|
upanāmayiṣye vipulaṁ yatra devī vasiṣyati||21||
iti hi bhikṣavaḥ sarvaiḥ kāmāvacarraidaiveśvarairbodhisattvasya pūjārthaṁ kapilāhvaye mahāpuravare svakasvakāni gṛhāṇi māpitānyabhūvan| rājñā capi śuddhodanena manuṣyātikrāntaṁ divyāsaṁprāptaṁ gṛhataraṁ pratisaṁskāritamabhūt| tatra bodhisattvo mahāsattvo mahāvyūhasya samādheranubhāvena sarveṣu teṣu gṛheṣu māyādevīmupadarśayati sma| abhyantaragataśca bodhisattvo māyādevyāḥ kukṣau dakṣiṇe pārśve paryaṅkamābhujya niṣaṇṇo'bhūt| sarve ca te deveśvarā ekaikamevaṁ saṁjānīte sma-mamaiva gṛhe bodhisattvamātā prativasati nānyatreti||
tatredamucyate—
mahāvyūhāya sthitaḥ samādhiye
acintiyā nirmita nirmiṇitvā|
sarveṣa devānabhiprāya pūritā
nṛpasya pūrṇaśca tadā manorathaḥ||22||
atha khalu tasyāṁ devaparṣadi keṣāṁciddevaputrāṇāmetadabhavat-ye'pi tāvaccāturmahārājakāyikā devāste'pi tāvanmanuṣyāśrayagatatvena nirvidyāpakramanti| kaḥ punarvādo ye tadanye udāratamā devāḥ trāyatriṁśā vā yāmā vā tuṣitā vā| tatkathaṁ hi nāma sarvalokābhyudgato bodhisattvaḥ śucirnirāmagandhaḥ sattvaratnaḥ saṁtuṣitāddevanikāyāccyutvā durgandhe manuṣyāśraye daśamāsān mātuḥ kukṣau sthita iti||
atha khalvāyuṣmānānando buddhānubhāvena bhagavantametadavocat-āścaryaṁ bhagavan yāvajjugupsanīyaśca mātṛgrāmastathāgatenokto yāvadrāgacaritaśca| idaṁ tu bhagavan āścaryataram| kathaṁ hi nāma sarvalokābhyudgato bhagavān pūrvaṁ bodhisattvabhūta eva tuṣitāddevanikāyāccyavitvā manuṣyāśraye (durgandhe) māturdakṣiṇe (pārśve) kukṣāvupapanna iti| nāhaṁ bhagavan idamutsahe evaṁ vaktaṁ yathaiva pūrve bhagavatā vyākṛtamiti| bhagavānāha-icchasi tvamānanda ratnavyūhaṁ bodhisattvaparibhogaṁ draṣṭuṁ yo mātuḥ kukṣigatasya bodhisattvasya paribhogo'bhūt| ānanda āha-ayamasya bhagavan kālaḥ, ayaṁ sugata samayaḥ, yattathāgatastaṁ bodhisattvaparibhogamupadarśayed yaṁ dṛṣṭvā prītiṁ vetsyāmaḥ||
atha khalu bhagavāṁstathārūpanimittamakarot, yad brahmā sahāpatiḥ sārdhamaṣṭaṣaṣṭibrahmaśatasahasrairbrahmaloke'ntarhito bhagavataḥ purataḥ pratyasthāt| sa bhagavataḥ pādau śirasābhivandya bhagavantaṁ tripradakṣiṇīkṛtyaikānte'sthāt prāñjalībhūto bhagavantaṁ namasyan| tatra khalu bhagavān jānanneva brahmāṇaṁ sahāpatimāmantrayate sma-gṛhītastvayā brahman sa bodhisattvaparibhogo daśamāsiko yo mama pūrvaṁ bodhisattvabhūtasya mātuḥ kukṣigatasyābhūt| brahmā āha-evametadbhagavan, evametat sugata| bhagavānāha-kva sa idānīṁ brahman? upadarśaya tam| brahmā cāha-brahmaloke sa bhagavan| bhagavānāha-tena hi tvaṁ brahman upadarśaya taṁ daśamāsikaṁ bodhisattvaparibhogam, jñāsyanti kiyatsaṁskṛtamiti||
atha khalu brahmā sahāpatistān brāhmaṇānetadavocat-tiṣṭhatu tāvadbhavanto yāvadvayaṁ ratnavyūhaṁ bodhisattvaparibhogamānayiṣyāmaḥ||
atha khalu brahmā sahāpatirbhagavataḥ pādau śirasābhivanditvā bhagavataḥ purato'ntarhitastatkṣaṇameva brahmaloke pratyasthāt||
atha khalu brahmā sahāpatiḥ subrahmāṇaṁ devaputrametadavocat-gaccha tvaṁ mārṣā ito brahmalokamupādāya yāvattrāyatriṁśadbhavanam-śabdamudīraya, ghoṣamanuśrāvaya| ratnavyūhaṁ bodhisattvaparibhogaṁ vayaṁ tathāgatasyāntikamupanāmayiṣyāmaḥ| yo yuṣmākaṁ draṣṭukāmaḥ sa śīghramāgacchatviti||
atha khalu brahmā sahāpatiścaturaśītyā devakoṭyā nayutaśatasahasraḥ sārdhaṁ taṁ ratnavyūhaṁ bodhisattvaparibhogaṁ parigṛhya mahati brāhme vimāne triyojanaśatike pratiṣṭhāpyānekairdaivakoṭīnayutaśatasahasraiḥ samantato'nuparivārya jambūdvīpamavatārayati sma||
tena khalu punaḥ samayena kāmāvacarāṇāṁ devānāṁ mahāsaṁnipāto'bhūt bhagavatsakāśe gantum| sa khalu puna ratnavyūho bodhisattvaparibhogo divyairvastrairdivyairmālyairdivyairgandhairdivyaiḥ puṣpairdivyairvādyairdivyaiśca paribhaugairabhisaṁskṛto'bhūt| tāvanmaheśākhyaiśca devaiḥ parivṛto'bhūd yacchakro devānāmindraḥ sumerau(samudre) sthitvā dūrata eva mukhe tālacchatrakaṁ dattvā śīrṣavyavalokanenānuvilokayati sma unmeṣadhyāyikayā vā| na ca śaknoti sma draṣṭum| tatkasmāt? maheśākhyā hi devā brāhmaṇāḥ| itarāstrāyatriṁśā yāmāstuṣitā nirmāṇaratayaḥ paranirmitavaśavartinaḥ| kaḥ punarvādaḥ śakro devānāmindraḥ| mohaṁ te vai yānti sma||
atha khalu bhagavāṁstaṁ divyaṁ vādyanirghoṣamantardhāpayati sma| tatkasmāt? yatsahaśravaṇādeva jāmbudvīpakā manuṣyā unmādamāpatsyanta iti||
atha khalu catvāro mahārājānaḥ śakraṁ devānāmindramupasaṁkramyaivamāhuḥ-kathaṁ devānāmindra kariṣyāmo na labhāmahe ratnavyūhaṁ bodhisattvaparibhogaṁ draṣṭum| sa tānavocat-kimahaṁ mārṣāḥ kariṣyāmi? ahamapi na labhe draṣṭum| api tu khalu punarmārṣā bhagavatsamīpamupanītaṁ drakṣyāmaḥ| te tadā āhuḥ-tena hi devānāmindra tathā kuru yathāsya kṣipraṁ darśanaṁ bhavet| śakra āha-āgamayata mārṣā muhūrtaṁ yāvadatikrāntātikrāntatamā devaputrā bhagavantaṁ pratisaṁmodayante sma| tadekānte sthitvā śīrṣonmiñjitakayā bhagavantamanuvilokayanti sma||
atha khalu brahmā sahāpatiḥ sārdhaṁ taiścaturaśītyā devakoṭīnayutaśatasahasraistaṁ ratnavyūhaṁ bodhisattvaparibhogaṁ gṛhītvā yena bhagavāṁstenopasaṁkrāmayati sma| sa khalu puna ratnavyūho bodhisattvaparibhogo'bhirūpaḥ prāsādiko darśanīyaścaturasraścatuṣṭhūṇaḥ| upariṣṭācca kūṭāgārasamalaṁkṛtaḥ | evaṁpramāṇaḥ tadyathāpi nāma ṣaṇmāsajāto dāraka uccaistvena| tasya khalu punaḥ kūtāgārasya madhye paryaṅkaḥ prajñaptaḥ tadyathāpi nāma ṣaṇmāsajātasya dārakasya bhittīphalakaḥ| sa khalu puna ratnavyūho bodhisattvaparibhoga evaṁ varṇasaṁsthāno yasya na kaścit sadevake loke samārake sabrahmake sadṛśo'sti ākṛtyā vā varṇena vā| devāḥ khalvapi taṁ dṛṣṭvā āścaryaprāptā abhuvan| cakṣūṁṣi teṣāṁ vibhramanti sma| sa ca tathāgatasyāntika upanīto'tīva bhāsate tapati virocate sma| tadyathāpi nāma dvinirdhāntaṁ suvarṇaṁ kuśalena karmakāreṇa supariniṣṭhitamapagatakācadoṣam, evaṁ (tasmin samaye) sa kūṭāgāro virājate sma| tasmin khalu punarbodhisattvaparibhoge paryaṅkaḥ prajñapto yasya sadevake loke nāsti kaścit sadṛśo varṇena vā saṁsthānena vā anyatra kambugrīvāyā bodhisattvasya| yat khalu mahābrahmaṇā cīvaraṁ prāvṛtamabhūt, tattasya bodhisattvaparyaṅkasyāgrato na bhāsate sma tadyathāpi nāma vātavṛṣṭyābhihataḥ kṛṣṇakambalaḥ| sa khalu punaḥ kūṭāgāra uragasāracandanamayo yasyaikasuvarṇadharaṇī sāhasraṁ lokadhātuṁ mūlyaṁ kṣamate, tathāvidhenoragasāracandanena sa kūṭāgāraḥ samantādanupaliptaḥ| tādṛśa eva dvitīyaḥ kūṭāgāraḥ kṛto yastasmin prathame kūṭāgāre'bhyantarataḥ asakto'baddhasthitaḥ| tādṛśa eva tṛtīyo'pi kūṭāgāro yastasmin dvitīye kūṭāgāre'bhyantare'sakto'baddhasthitaḥ| sa ca paryaṅkastasmin gandhamaye tṛtīye kūṭāgāre vyavasthitaḥ saṁpraticchannaḥ| tasya khalu punaruragasāracandanasyaivaṁrūpo varṇaḥ tadyathāpi nāma abhijātasya nīlaivaḍūryasya| tasya khalu punargandhakūṭāgārasyopari samantādyāvanti kāniciddivyātikrāntāni puṣpāṇi santi, tāni sarvāṇi tasmin kūṭāgāre bodhisattvasya pūrvakuśalamūlavipākenānuprāptānyeva jāyante sma| sa khalu puna ratnavyūho bodhisattvaparibhogo dṛḍhasāro'bhedyo vajropamaḥ sparśena ca kācilindikasukhasaṁsparśaḥ| tasmin khalu puna ratnavyūhe bodhisattvaparibhoge ye kecit kāmāvacarāṇāṁ devānāṁ bhavanavyūhāste sarve tasmin saṁdṛśyante sma||
yāmeva ca rātriṁ bodhisattvo mātuḥ kukṣimavakrāntastāmeva rātrimadha āpaskandhamupādāya aṣṭaṣaṣṭiyojanaśatasahasrāṇi mahāpṛthivīṁ bhittvā yāvad brahmalokaṁ padmabhyudgatamabhūt| na ca kaścittaṁ padmaṁ paśyati sma anyatra sārathinarottamāddaśaśatasāhasrikācca mahābrahmaṇaḥ| yacceha trisāhasramahāsāhasralokadhātāvojo vā maṇḍo va raso vā, tatsarvaṁ tasmin mahāpadme madhubinduḥ saṁtiṣṭhate sma||
tamenaṁ mahābrahmā śubhe vaiḍūryabhājane prakṣipya bodhisattvasyopanāmayati sma| taṁ bodhisattvaḥ parigṛhya bhuṅkte sma mahābrahmaṇo'nukampāmupādāya| nāsti sa kaścit sattvaḥ sattvanikāye yasya sa ojobinduḥ paribhuktaḥ samyak sukhena pariṇāmedanyatra caramabhavikādbodhisattvāt sarvabodhisattvabhūmiparipūrṇāt| kasya ca karmaṇo vipākena sa ojobindurbodhisattvasyopatiṣṭhate sma? dīrgharātraṁ khalvapi bodhisattvena pūrvaṁ bodhisattvacaryāṁ caratā glānebhyaḥ sattvebhyo bhaiṣajyaṁ dattamāśatparāṇāṁ sattvānāmāśāḥ paripūritāḥ, śaraṇāgatāśca na parityaktāḥ, nityaṁ cāgrapuṣpamagraphalamagrarasaṁ tathāgatebhyastathāgatacaityebhyastathāgataśrāvakasaṁghebhyo mātāpitṛbhyaśca dattvā paścādātmanā paribhuktam| tasya karmaṇo vipākena mahābrahmā bodhisattvasya taṁ madhubindumupanāmayati sma||
tasmin khalu punaḥ kūṭāgāre yāni kānicit santyatikrāntātikrāntāni māyāguṇaratikrīḍāsamavasṛtasthānāni, tāni sarvāṇi tasmin prādurbhāvāni saṁdṛśyante sma bodhisattvasya pūrvakarmavipākena||
tasmin khalu puna ratnavyūhe bodhisattvaparibhoge śatasahasravyūhaṁ nāma vāsoyugaṁ prādurbhūtam| na sa kaścitsattvaḥ sattvanikāye saṁvidyate yasya tatprādurbhavedanyatra caramabhavikād bodhisattvāt| na ca te kecana udārodārā rūpaśabdagandharasasparśā ye tasmin kūṭāgāre na saṁdṛśyante sma| sacetkūṭāgāraparibhoga evaṁ suparibhoga evaṁ supariniṣpannaḥ sāntarabahirevaṁ supariniṣṭhita evaṁ mṛdukaśca| tadyathāpi nāma kācilindikasukhasaṁsparśo nidarśanamātreṇa, na tu tasyopamā saṁvidyate| dharmatā khalveṣā bodhisattvasya pūrvakeṇa ca praṇidhānena iyaṁ cetanā ṛddhāvavaśyaṁ bodhisattvena mahāsattvena manuṣyaloka upapattavyamabhiniṣkramya cānuttarāṁ samyaksaṁbodhimabhisaṁbudhya dharmacakraṁ pravartayitavyam| yasyā mātuḥ kukṣāvupapattirbhavati, tasyā dakṣiṇe kukṣāvādita eva ratnavyūhakūṭāgāro'bhinirvartate| paścādbodhisattvastuṣitebhyaścyuttvā tasmin kūṭāgāre paryaṅkaniṣaṇṇaḥ saṁbhavati| na hi caramabhavikasya bodhisattvasya kalalārbudaghanapeśībhāvaṁ kāyaḥ saṁtiṣṭhate sma| atha tarhi sarvāṅgapratyaṅgalakṣaṇasaṁpannaḥ saṁniṣaṇṇa eva prādurbhavati| svapnāntaragatā ca bodhisattvamātā māyādevī mahānāgakuñjaramavakrāntaṁ saṁjānīte sma||
tasya khalu punastathā niṣaṇṇasya śakro devānāmindraścatvāraśca mahārājāno'ṣṭāviṁśatiśca mahāyakṣasenāpatayo guhyakādhipatiśca nāma yakṣakulaṁ yato vajrapāṇerutpattiste bodhisattvaṁ mātuḥ kukṣigataṁ viditvā satataṁ samitamanubaddhā bhavanti sma| santi khalu punaścatasro bodhisattvaparicārakā devatāḥ-utkhalī ca nāma samutkhalī ca nāma dhvajavatī ca nāma prabhāvatī ca nāma| tā api bodhisattvaṁ mātuḥ kukṣigataṁ viditvā satataṁ samitaṁ rakṣanti sma| śakro'pi devānāmindraḥ sārdhaṁ pañcamātrairdevaputraśatairbodhisattvaṁ mātuḥ kukṣigataṁ jñātvā satataṁ samitamanubadhnāti sma||
bodhisattvasya khalu punarmātuḥ kukṣigatasya kāyastathāvidho'bhūt, tadyathāpi nāma parvatamūrdhani rātrāvandhakāratamisrāyāṁ mahānagniskandho yojanādapi dṛśyate sma, yāvat pañcabhyā yojanebhyo dṛśyate sma| evameva bodhisattvasya mātuḥ kukṣigatasyātmabhāvo'bhinirvṛtto'bhūt prabhāsvaro'bhirūpaḥ prāsādiko darśanīyaḥ| sa tasmin kūṭāgāre paryaṅkaniṣaṇṇo'tīva śobhate sma| vaiḍūryapratyuptamivābhijātaṁ jātarūpam| bodhisattvasya mātā ca nidhyāya sthitā paśyati sma kukṣigataṁ bodhisattvam| tadyathāpi nāma mahato'bhrakūṭādvidyuto niḥsṛtya mahāntamavabhāsaṁ saṁjanayanti, evameva bodhisattvo mātuḥ kukṣigataḥ śriyā tejasā varṇena ca taṁ prathamaṁ ratnakūṭāgāramavabhāsayati sma| avabhāsya dvitīyaṁ gandhakūṭāgāramavabhāsayati sma| dvitīyaṁ gandhakūṭāgāramavabhāsya tṛtīyaṁ ratnakūṭāgāramavabhāsayati sma| tṛtīyaṁ ratnakūṭāgāramavabhāsya sarvāvantaṁ māturātmabhāvamavabhāsayati sma| tamavabhāsya yatra cāsane niṣaṇṇo bhavati sma tadavabhāsayati sma| tadavabhāsya sarvaṁ gṛhamavabhāsayati sma| sarvaṁ gṛhamavabhāsya gṛhasyopariṣṭānniḥsṛtya pūrvāṁ diśamavabhāsayati sma| evaṁ dakṣiṇāṁ paścimāṁ uttarāmadha ūrdhvaṁ samantāddaśadiśaḥ krośamātramekaikasyāṁ diśi mātuḥ kukṣigato bodhisattvaḥ śriyā tejasā varṇena cāvabhāsayati sma||
āgacchanti sma khalu punarbhikṣavaścatvāro mahārājāno'ṣṭāviṁśacca mahāyakṣasenāpatayaḥ sārdhaṁ pañcamātrayakṣaśataiḥ pūrvāhṇakālasamaye bodhisattvasya darśanāya vandanāya paryupāsanāya dharmaśravaṇāya ca| tadā bodhisattvastānāgatān viditvā dakṣiṇaṁ pāṇimabhyutkṣipya ekāṅgulikayā āsanānyupadarśayati sma| niṣīdanti sma te lokapālādayo yathāprajñapteṣvāsaneṣu| paśyanti sma bodhisattvaṁ mātuḥ kukṣigataṁ jātarūpamiva vigrahaṁ hastaṁ cālayantaṁ vicālayantam utkṣipantaṁ pratiṣṭhāpayantam| te prītiprāmodyaprasādapratilabdhā bodhisattvaṁ namaskurvanti sma| niṣaṇṇāṁśca tān viditvā bodhisattvo dharmyayā kathayā saṁdarśayati sma samādāpayati sma samuttejayati sma saṁpraharṣayati sma| yadā ca prakramitukāmā bhavanti tadā bodhisattvasteṣāṁ cetasaiva vicintitaṁ vijñāya dakṣiṇaṁ pāṇimutkṣipya saṁcārayati sma| saṁcārya vicārayati sma| mātaraṁ ca na bādhate sma| tadā teṣāṁ caturṇāṁ mahārājānāmevaṁ bhavati sma-visarjitāḥ sma vayaṁ bodhisattveneti| te bodhisattvaṁ bodhisattvamātaraṁ ca tripradakṣiṇīkṛtya prakrāmanti sma| ayaṁ heturayaṁ pratyayo yadbodhisattvo rātryāṁ praśāntāyāṁ dakṣiṇaṁ pāṇiṁ saṁcārya vicārayati sma| vicārya punarapi smṛtaḥ saṁprajānaṁstaṁ pāṇiṁ pratiṣṭhāpayati sma| punaraparaṁ yadā bodhisattvasya keciddarśanāyāgacchanti sma striyo vā puruṣo vā dārako vā dārikā vā, tān bodhisattvaḥ pūrvatarameva pratisaṁmodayate sma, paścādbodhisattvasya mātā||
iti hi bhikṣavo bodhisattvo mātuḥ kukṣigataḥ san sattvān pratisaṁmodanakuśalo bhavati smeti| na ca kaściddevo vā nāgo vā yakṣo vā manuṣyo vā amanuṣyo vā yaḥ śaknoti sma bodhisattvaṁ pūrvataraṁ pratisaṁmoditum| atha tarhi bodhisattva eva tāvat pūrvataraṁ pratisaṁmodate sma, paścādbodhisattvamātā||
nirgate khalu punaḥ pūrvāhṇakālasamaye madhyāhnakālasamaye pratyupasthite atha khalu śakro devānāmindro niṣkrāntaḥ| abhiniṣkrāntāśca trāyatriṁśaddevaputrā bodhisattvasya darśanāya vandanāya paryupāsanāya| dharmaśravaṇāya cāgacchanti sma| tāṁśca bodhisattvo dūrata evāgacchato dṛṣṭvā dakṣiṇaṁ suvarṇavarṇaṁ bāhuṁ prasārya śakraṁ devānāmindraṁ devāṁśca trāyatriṁśān pratisaṁmodate sma| ekāṅgulikayā cāsanānyupadarśayati sma| na ca śaknoti sma bhikṣavaḥ śakro devānāmindro bodhisattvasyājñāṁ pratiroddhum| niṣīdati sma śakro devānāmindrastadanye ca devaputrā yathāprajñapteṣvāsaneṣu| tān bodhisattvo niṣaṇṇān viditvā dharmyayā kathayā saṁdarśayati sma samādāpayati sma samuttejayati sma saṁpraharṣayati sma| yena ca bodhisattvaḥ pāṇiṁ saṁcārayati sma, tanmukhā bodhisattvamātā bhavati sma| tatasteṣāmevaṁ bhavati sma-asmābhiḥ sārdhaṁ bodhisattvaḥ saṁmodate sma| ekaikaścaivaṁ saṁjānīte sma-mayaiva sārdhaṁ bodhisattvaḥ saṁlapati, māmeva pratisaṁmodate sma iti||
tasmin khalu punaḥ kūṭāgāre śakrasya devānāmindrasya trāyatriṁśānāṁ devānāṁ ca pratibhāsaḥ saṁdṛśyate sma| na khalu punaranyatraivaṁ pariśuddho bodhisattvaparibhogo bhavati yathā mātuḥ kukṣigatasya bodhisattvasya| yadā ca bhikṣavaḥ śakro devānāmindrastadanye ca devaputrāḥ prakramitukāmā bhavanti sma, tadā bodhisattvasteṣāṁ cetasaiva cetaḥparivitarkamājñāya dakṣiṇaṁ pāṇimutkṣipya saṁcārayanti sma| saṁcārya vicārya punarapi smṛtaḥ saṁprajānan pratiṣṭhāpayati sma| mātaraṁ ca na bādhate sma| tadā śakrasya devānāmindrasyānyeṣāṁ ca trāyatriṁśānāṁ devānāmevaṁ bhavati sma-visarjitā vayaṁ bodhisattveneti| te bodhisattvaṁ bodhisattvamātaraṁ ca tripradakṣiṇīkṛtya prakrāmanti sma||
nirgate ca khalu punarbhikṣavo madhyāhnakālasamaye sāyāhnakālasamaye pratyupasthite atha khalu brahmā sahāpatiranekairbrahmakāyikairdevaputraśatasahasraiḥ parivṛtaḥ puraskṛtastaṁ divyamojobindumādāya yena bodhisattvastenopasaṁkrāmati sma bodhisattvaṁ draṣṭuṁ vandituṁ paryupāsituṁ dharmaṁ ca śrotum| samanvāharati sma bhikṣavaḥ bodhisattvo brahmāṇaṁ sahāpatimāgacchantaṁ saparivāram| punareva ca bodhisattvo dakṣiṇaṁ suvarṇavarṇapāṇimutkṣipya brahmāṇaṁ sahāpatiṁ brahmakāyikāṁśca devaputrān pratisaṁmodate sma| ekāṅgulikayā cāsanānyupadarśayati sma| na ca śaktirasti bhikṣavo brahmaṇaḥ sahāpaterbodhisattvasyājñāṁ pratiroddhum| niṣīdati sma bhikṣavo brahmā sahāpatistadanye ca brahmakāyikā devaputrā yathāprajñapteṣvāsaneṣu| tān bodhisattvo niṣaṇṇān viditvā dharmyayā kathayā saṁdarśayati sma samādāpayati sma samuttejayati sma saṁpraharṣayati sma| yena ca bodhisattvaḥ pāṇiṁ saṁcārayati sma, tanmukhaiva māyādevī bhavati sma| tatasteṣāmekaikasyaivaṁ bhavati sma-mayā sārdhaṁ bodhisattvaḥ saṁlapati, māmeva pratisaṁmodate sma iti| yadā ca brahmā sahāpatistadanye ca brahmakāyikā devaputrā gantukāmā bhavanti sma, tadā bodhisattvasteṣāṁ cetasaiva cetaḥparivitarkamājñāya dakṣiṇaṁ suvarṇavarṇaṁ bāhumutkṣipya saṁcārayati sma| saṁcārya vicārayati sma| saṁcārya vicārya avasādatākāreṇa pāṇiṁ saṁcārayati sma| mātaraṁ ca na bādhate sma| tato brahmaṇaḥ sahāpatestadanyeṣāṁ ca brahmakāyikānāṁ devaputrāṇāmevaṁ bhavati sma-visarjitā vayaṁ bodhisattveneti| te bodhisattvaṁ bodhisattvamātaraṁ ca tripradakṣiṇīkṛtya punareva prakrāmanti sma| bodhisattvaśca smṛtaḥ saṁprajānan pāṇiṁ pratiṣṭhāpayati sma||
āgacchanti sma khalu punarbhikṣavaḥ pūrvadakṣiṇapaścimottarābhyo digbhyo'dhastādupariṣṭāt santāddaśabhyo digbhyo bahūni bodhisattvaśatasahasrāṇi bodhisattvasya darśanāya vandanāya paryupāsanāya dharmaśravaṇāya ca dharmasaṁgītisaṁgāyanāya ca| teṣāmāgatāgatānāṁ bodhisattvaḥ kāyāt prabhāmutsṛjya prabhāvyūhāni siṁhāsanānyabhinirmimīte sma| abhinirmāya tān bodhisattvāṁsteṣvāsaneṣu niṣīdayati sma| niṣaṇṇāṁścainān viditvā paripṛcchati sma paripraśnayati sma yadutāsyaiva bodhisattvasya mahāyānasya vistaravibhāgatāmupādāya| na ca tān kaścidanyaḥ paśyati sma anyatra sabhāgebhyo devaputrebhyaḥ| ayaṁ bhikṣavo heturayaṁ pratyayo yena bodhisattvaḥ praśāntāyāṁ rātryāṁ kāyāt prabhāmutsṛjati sma||
na khalu punarbhikṣavo māyādevī bodhisattvakukṣigate gurukāyatāṁ saṁjānīte sma anyatra laghutāmeva mṛdutāmeva saukhyatāmeva| na codaragatāni duḥkhāni pratyanubhavati sma| na ca rāgaparidāhena vā dveṣaparidāhena vā mohaparidāhena vā paridahyate sma| na ca kāmavitarkaṁ vā vyāpādavitarkaṁ vā vihiṁsāvitarkaṁ vā vitarkayati sma| na ca śītaṁ na coṣṇaṁ vā jighatsāṁ vā pipāsāṁ vā tamo vā rajo vā kleśaṁ vā saṁjānīte sma paśyati vā| na cāsyā amanāpā rūpaśabdagandharasasparśā vā ābhāsamāgacchanti sma| na ca pāpakān svapnān paśyati sma| na cāsyāḥ strīmāyā na śāṭhyaṁ nerṣyā na strīkleśā bādhante sma| pañcaśikṣāpadasamādattā khalu punaḥ śīlavatī daśakuśalakarmapathe pratiṣṭhitā tasmin samaye bodhisattvamātā bhavati sma| na ca bodhisattvamātuḥ kvacit puruṣe rāgacittamutpadyate sma, nāpi kasyacitpuruṣasya bodhisattvasya māturantike| ye ca kecitkapilāhvaye mahāpuravare anyeṣu vā janapadeṣu devanāgayakṣagandharvāsuragaruḍabhūtāviṣṭāḥ strīpuruṣadārakadārikā vā, te sarve bodhisattvamātuḥ sahadarśanādeva svasthāḥ smṛtipratilabdhā bhavanti sma| te cāmanuṣyāḥ kṣiprameva prakrāmanti sma| ye ca kecinnānārogaspṛṣṭāḥ sattvā bhavanti sma, vātapittaśleṣmasaṁnipātajai rogaiḥ pīḍyante sma, cakṣurogeṇa vā śrotrarogeṇa vā ghrāṇarogeṇa vā jihvārogeṇa vā oṣṭharogeṇa vā dantarogeṇa kaṇṭharogeṇa vā galagaṇḍarogeṇa vā uragaṇḍakuṣṭhakilāsaśoṣonmādāpasmārajvaragalagaṇḍapiṭakavisarpavicarcikādyai rogaiḥ saṁpīḍyante sma, teṣāṁ bodhisattvamātā dakṣiṇapāṇiṁ mūrdhni pratiṣṭhāpayati sma| te sahapratiṣṭhāpite pāṇau vigatavyādhayo bhūtvā svakasvakāni gṛhāṇi gacchanti sma| antato māyādevī tṛṇagulmakamapi dharaṇitalādabhyutkṣipya glānebhyaḥ sattvebhyo'nuprayacchati sma| te sahapratilambhādaroganirvikārā bhavanti sma| yadā ca māyādevī svaṁ dakṣiṇaṁ pārśvaṁ pratyavekṣate sma, tadā paśyati sma bodhisattvaṁ kukṣigatam, tadyathāpi nāma supariśuddha ādarśamaṇḍale mukhamaṇḍalaṁ dṛśyate| dṛṣṭvā ca punastuṣṭā udagrā āttamanā pramuditā prītisaumanasyajātā bhavati sma||
bodhisattvasya khalu punarbhikṣavo mātuḥ kukṣigatasyādhiṣṭhitaṁ satataṁ samitaṁ rātriṁdivaṁ divyāni tūryāṇi abhi(nirmāya) pranadanti sma| divyāni ca puṣpāṇi abhipravarṣanti sma| kālena devā varṣanti sma| kālena vāyavo vānti sma| kālena ṛtavo nakṣatrāṇi ca parivartante sma| kṣemaṁ ca rājyaṁ subhikṣaṁ ca sumanākulamanubhavati sma| sarve ca kapilāhvaye mahāpuravare śākyā anye ca sattvāḥ khādanti sma, pibanti sma, (ramante sma,) krīḍanti sma, pravicārayanti sma, dānāni ca dadanti sma, puṇyāni ca kurvanti sma, kaumodyāmiva cāturmāsyāmekāntare krīḍāsukhavihārairviharanti sma| rājāpi śuddhodanaḥ saṁprāptabrahmacaryoparatarāṣṭrakāryo'pi supariśuddhastapovanagata iva dharmamevānuvartate sma||
evaṁrūpeṇa bhikṣava ṛddhiprātihāryeṇa samanvāgato bodhisattvo mātuḥ kukṣigato'sthāt| tatra khalu bhagavānāyuṣmantamānandamāmantrayate sma-drakṣyasi tvamānanda ratnavyūhaṁ bodhisattvaparibhogaṁ yatra bodhisattvo mātuḥ kukṣigato vyāhārṣīt| āha-paśyeyaṁ bhagavan paśyeyaṁ sugata| darśayati sma tathāgata āyuṣmata ānandasya śakrasya devānāmindrasya caturṇāṁ ca lokapālānāṁ tadanyeṣāṁ ca devamanuṣyāṇām| dṛṣṭvā ca te tuṣṭā abhūvan udagrā āttamanasaḥ pramuditāḥ prītisaumanasyajātāḥ| sa ca brahmā sahāpatiḥ punareva brahmaloke samāropya pratiṣṭhāpayati sma caityārtham||
tatra khalu bhagavān punarapi bhikṣūnāmantrayate sma-iti hi bhikṣavo daśamāsakukṣigatena bodhisattvena ṣaṭtriṁśannayutāni devamanuṣyāṇāṁ triṣu yāneṣu paripācitānyabhūvan| yatredamucyate yat—
bodhisattva agrasattva mātukukṣisaṁsthitaḥ
prakampitā ca ṣaḍvikāra medinī sakānanā|
suvarṇavarṇa ābha mukta sarvāpāya śodhitā
praharṣitāśca devasaṁgha dharmagañju bheṣyate||23||
suṁsaṁsthito mahāvimānu naikaratnacitrito
yatra vīru āruhitva tiṣṭhate vināyakaḥ|
gandhottamena candanena pūrito virocate
yasyaikakarṣu trisahasramūlyaratnapūrito||24||
mahāsahasralokadhātu heṣvi bhindiyitvanā
udāgato guṇākarasya padmaojabinduko|
so saptarātra puṇyateja brahmaloki udgato
gṛhītva brahma ojabindu bodhisattva nāmayī||25||
na asti sarvasattvakāyi bhuktu yo jareya taṁ
anyatra bhūri bodhisattva brahmakalpasaṁnibhe|
anekakalpa puṇyateja ojabindu saṁsthito
bhujitva sattva kāyacitta jñānaśuddha gacchiṣu||26||
śakra brahma lokapāla pūjanāya nāyakaṁ
trīṇi kāla āgamitva bodhisattvamantikam|
vandayitva pūjayitva dharma śṛṇute varaṁ
pradakṣiṇaṁ karitva sarva gacchiṣū yathāgatā||27||
bodhisattva dharmakāma enti lokadhātuṣu
prabhāviyūha āsaneṣu te niṣaṇṇa dṛśyiṣu|
parasparaṁ ca śrutva dharma yānaśreṣṭhamuttamaṁ
prayānti sarvi hṛṣṭacitta varṇamāla bhāṣato||28||
ye ca iṣṭidārakāsu duḥkhitā tadā abhūt
bhūtaspṛṣṭa kṣiptacitta nagna pāṁśumrakṣitā|
te ca sarva dṛṣṭva māya bhonti labdhacetanā
smṛtīmatīgatīupeta gehi gehi gacchiṣu||29||
vātato va pittato va śleṣmasaṁnipātakaiḥ
ye ca cakṣuroga śrotraroga kāyacittapīḍitā|
naikarūpa naikajāti vyādhibhiśca ye hatā
sthāpite sma māya mūrdhni pāṇi bhonti nirjarā||30||
athāpi vā tṛṇasya tūli bhūmito gṛhītvanā
dadāti māya āturāṇa sarvi bhonti nirjarā|
saukhyaprāpti nirvikāra gehi gehi gacchiṣu
bhaiṣajyabhūti vaidyarāji kukṣisaṁpratiṣṭhite||31||
yasmi kāli māyadevi svātanuṁ nirīkṣate
adṛśāti bodhisattva kukṣiye pratiṣṭhitam|
yathaiva candra antarīkṣa tārakai parīvṛtaṁ
tathaiva nāthu bodhisattvalakṣaṇairalaṁkṛtam||32||
no ca tasya rāga doṣa naiva moha bādhate
kāmachandu naiva tasya īrṣi naiva hiṁsitā|
tuṣṭacitta hṛṣṭacitta prīti saumanasthitā
kṣudhāpipāsa śīta uṣṇa naiva tasya bādhate||33||
aghaṭṭitāśca nityakāla divyatūrya vādiṣu
pravarṣayanti divyapuṣpa gandhaśreṣṭha śobhanā|
deva paśyi mānuṣāśca mānuṣā amānuṣāṁ
no viheṭhi no vihiṁsi tatra te parasyaram||34||
ramanti sattva krīḍayanti annapānudenti ca
ānandaśabda ghoṣayanti hṛṣṭatuṣṭamānasāḥ||
kṣamā rajoanākulā ca kāli deva varṣate
tṛṇāśca puṣpa oṣadhīya tasmi kāli rohiṣu||35||
rājagehi saptarātra ratnavarṣa varṣito
yato daridrasattva gṛhya dāna denti bhuñjate|
nāsti sattva yo daridra yo ca āsi duḥkhito
bherumūrdhni nandaneva eva sattva nandiṣu||36||
so ca rāju śākiyāna poṣadhī upoṣito
rājyakāryu no karoti dharmameva gocarī|
tapovanaṁ ca so praviṣṭa māyādevī pṛcchate
kīdṛśenti kāyi saukhya agrasattva dhārati||37||
iti śrīlalitavistare garbhāvakrāntiparivarto nāma ṣaṣṭhamo'dhyāyaḥ||
Meluhha glosses:
<karaD>(Z),,<kanaD>(Z) {N} ``^sheaf of ^straw''. #16160.(Munda)
kaṇḍa -- m.n. ʻ joint of stalk, stalk (Pali); kã̄ḍ m. ʻ stalk of a reed, straw ʼ (Kashmiri); kã̄ḍ n. ʻ trunk, stem ʼ (Marathi); Or.kāṇḍa, kã̄ṛ ʻ stalk (Oriya); kã̄ṛā ’stem of muñja grass (used for thatching) (Bihari); kānã̄ m. ʻ stalk of the reed Sara ʼ (Lahnda)(CDIAL 3023).
काड [ kāḍa ] n f Thrashed or trodden stalks of leguminous plants, pulse-straw. 2 f Straw (of wheat, नाचणी, उडीद, वरी and others). 3 C The chaff and bits that fall from rice-straw on beating or shaking it. 4 C Plants of rice left over from a transplantation. 5 Peeled stalks of अंबाडी or ताग. 6 n Legumes gen. (Marathi)
कांडें [ kāṇḍēṃ ] n (कांड S) Stalks and heads of corn once trodden or thrashed (as thrown or reserved for a second treading or thrashing).कंडारणें [ kaṇḍāraṇēṃ ] n An instrument of goldsmiths,--the iron spike which is hammered upon plates in reducing them to shape. 2 The handle of a ploughman's whip. 3 The central and thick part of a दावें. 4 A little indented instrument, used to cut flowers and figures out of paper. 5 A cudgel or club. 6 A large and coarse ornamental ring. Esp. used with सरीचें, गोट्याचें, कड्यांचें&c. as सरीचेंक0 7 A barber's nail-parer. (Marathi)
kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Prob. ← Drav., cf. Tam. kaṇ ʻ joint of bamboo or sugarcane ʼ EWA i 197] Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ; Pk. kaṁḍa -- , °aya -- m.n. ʻ knot of bough, bough, stick ʼ; Ash. kaṇ ʻ arrow ʼ, Kt. kåṇ, Wg. kāṇ, kŕãdotdot;, Pr. kə̃, Dm. kā̆n; Paš. lauṛ. kāṇḍ, kāṇ, ar. kōṇ, kuṛ. kō̃, dar. kã̄ṛ ʻ arrow ʼ, kã̄ṛī ʻ torch ʼ; Shum. kō̃ṛ, kō̃ ʻ arrow ʼ, Gaw. kāṇḍ, kāṇ; Kho. kan ʻ tree, large bush ʼ; Bshk. kāˋ'n ʻ arrow ʼ, Tor. kan m., Sv. kã̄ṛa, Phal. kōṇ, Sh. gil. kōn f. (→ Ḍ. kōn, pl. kāna f.), pales. kōṇ; K. kã̄ḍ m. ʻ stalk of a reed, straw ʼ (kān m. ʻ arrow ʼ ← Sh.?); S. kānu m. ʻ arrow ʼ,°no m. ʻ reed ʼ, °nī f. ʻ topmost joint of the reed Sara, reed pen, stalk, straw, porcupine's quill ʼ; L. kānã̄ m. ʻ stalk of the reed Sara ʼ, °nī˜ f. ʻ pen, small spear ʼ; P. kānnā m. ʻ the reed Saccharum munja, reed in a weaver's warp ʼ, kānī f. ʻ arrow ʼ; WPah. bhal. kān n. ʻ arrow ʼ, jaun. kã̄ḍ; N. kã̄ṛ ʻ arrow ʼ, °ṛo ʻ rafter ʼ; A. kã̄r ʻ arrow ʼ; B. kã̄ṛ ʻ arrow ʼ, °ṛā ʻ oil vessel made of bamboo joint, needle of bamboo for netting ʼ, kẽṛiyā ʻ wooden or earthen vessel for oil &c. ʼ; Or. kāṇḍa, kã̄ṛ ʻ stalk, arrow ʼ; Bi. kã̄ṛā ʻ stem of muñja grass (used for thatching) ʼ; Mth. kã̄ṛ ʻ stack of stalks of large millet ʼ, kã̄ṛī ʻ wooden milkpail ʼ; Bhoj. kaṇḍā ʻ reeds ʼ; H. kã̄ṛī f. ʻ rafter, yoke ʼ, kaṇḍā m. ʻ reed, bush ʼ (← EP.?); G. kã̄ḍ m. ʻ joint, bough, arrow ʼ, °ḍũ n. ʻ wrist ʼ, °ḍī f. ʻ joint, bough, arrow, lucifer match ʼ; M. kã̄ḍ n. ʻ trunk, stem ʼ, °ḍẽ n. ʻ joint, knot, stem, straw ʼ, °ḍī f. ʻ joint of sugarcane, shoot of root (of ginger, &c.) ʼ; Si. kaḍaya ʻ arrow ʼ. -- Deriv. A. kāriyāiba ʻ to shoot with an arrow ʼ.kāˊṇḍīra -- ; *kāṇḍakara -- , *kāṇḍārā -- ; *dēhīkāṇḍa -- [< IE. *kondo -- , Gk. kondu/los ʻ knuckle ʼ, ko/ndos ʻ ankle ʼ T. Burrow BSOAS xxxviii 55] S.kcch. kāṇḍī f. ʻ lucifer match ʼ? (CDIAL 3023)
*kāṇḍakara ʻ worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -- 1] L. kanērā m. ʻ mat -- maker ʼ; H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers ʼ.*kāṇḍārā ʻ bamboo -- goad ʼ. [kāˊṇḍa -- , āˊrā -- ]Mth. (ETirhut) kanār ʻ bamboo -- goad for young elephants.(CDIAL 3024,3025)
kāˊṇḍīra ʻ armed with arrows ʼ Pāṇ., m. ʻ archer ʼ lex. [kāˊṇḍa -- ] H. kanīrā m. ʻ a caste (usu. of arrow -- makers) ʼ.(CDIAL 3026)
*kaṇḍa ʻ pounding ʼ, kaṇḍīkarōti ʻ pounds, brays ʼ Car. [√kaṇḍ1]Pk. kaṁḍa -- m. ʻ piece, fragment ʼ; Or. kaṇḍā ʻ husked grain ʼ. -- Deriv. Pk. kaṁḍārēi ʻ scrapes, engraves ʼ; M. kãḍārṇẽ, karã̄ḍṇẽ ʻ to gnaw ʼ, kãḍārṇẽ n. ʻ jeweller's hammer, barber's nail -- parer ʼ. (CDIAL 2683)
2686 kaṇḍáyati, káṇḍati1 ʻ separates chaff from grain ʼ Dhātup. [√kaṇḍ1]
Pk. kaṁḍaï, pres. part. °ḍiṁta -- ʻ threshes rice &c. ʼ; P. kaṇḍnā ʻ to beat mercilessly ʼ; A. kã̄riba ʻ to clean (grain) ʼ; B. kã̄ṛā ʻ to clean finely (as rice) ʼ; Or. kāṇḍibā, kã̄ṛibāʻ to husk grain, beat ʼ, H. kã̄ḍnā, kã̄ṛnā ʻ to trample, tread on, crush ʼ; M. kã̄ḍṇẽ ʻ to husk rice by pounding in a mortar ʼ. A. kã̄riba also ʻ to husk paddy ʼ (CDIAL 2686).
Pk. kaṁḍaï, pres. part. °ḍiṁta -- ʻ threshes rice &c. ʼ; P. kaṇḍnā ʻ to beat mercilessly ʼ; A. kã̄riba ʻ to clean (grain) ʼ; B. kã̄ṛā ʻ to clean finely (as rice) ʼ; Or. kāṇḍibā, kã̄ṛibāʻ to husk grain, beat ʼ, H. kã̄ḍnā, kã̄ṛnā ʻ to trample, tread on, crush ʼ; M. kã̄ḍṇẽ ʻ to husk rice by pounding in a mortar ʼ. A. kã̄riba also ʻ to husk paddy ʼ (CDIAL 2686).
kaṇḍita ʻ dislocated ʼ Apte. [√kaṇḍ1] Pk. kaṁḍia -- ʻ threshed ʼ; A. kã̄rī ʻ cleaned (of grain) ʼ.(CDIAL 2687)
Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe. kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214)
Pa. kandi (pl. -l) necklace, beads. Ga. (P.) kandi (pl. -l) bead, (pl.1215 Pa. kandi (pl. -l) necklace, beads. Ga. (P.) kandi (pl. -l) bead, (pl.) necklace; (S.2) kandiṭ bead. (DEDR 1215)
kaṇḍa‘stone (ore)(Gadba)’. . Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298).
Allographs:
kaṇḍa ‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023).
खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi)
kāṇḍa‘water’.
kaṇḍ ‘backbone’ (Lahnda);
Si. kaṭa ʻ throat, mouth ʼ (X skandhá -- in SigGr. kaṇḍa ʻ neck ʼ) (CDIAL 2680).
A hieroglyph on m0304 insription: A खांडा khāṇḍā ‘jag’ infixed inside kanka ‘rim of jar’ glyph is read as the phrase: kaṇḍa kanka, ‘furnace account, scribe’. The rim-of-jar is the most frequently occurring hieroglyph in the corpora of Meluhha hieroglyphs (aka Indus writing). This hieroglyph is read rebus: Glyph: kaṇḍa kanka, 'rim of jar' Rebus: furnace account, scribe. cf. kul -- karṇī m. ʻvillage accountantʼ (Marathi); karṇikan id. (Tamil)கணக்கு kaṇakku, n. cf. gaṇaka. [M. kaṇakku] 1. Number, account, reckoning, calculation, computation (Tamil) kaṇḍ ‘fire-altar’ (Santali) kaṇḍa, furnace (fire-altar, consecrated pit). khondu id. (Kashmiri)
m1656 Mohenjodro Pectoral. kāṇṭamகாண்டம் kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). <kanda> {N} ``large earthen water ^pot kept and filled at the house''. @1507. #14261.(Munda) Rebus: khāṇḍā ‘metal tools, pots and pans’ (Marathi)
<lo->(B) {V} ``(pot, etc.) to ^overflow''. See <lo-> `to be left over'. @B24310. #20851. Re<lo->(B) {V} ``(pot, etc.) to ^overflow''. See <lo-> `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi) The hieroglyph clearly refers to the metal tools, pots and pans of copper. Thus, the two words read together Rebus: lōkhaṇḍa लोखंड Iron tools, vessels, or articles in general (Marathi).
khaṇṭi ‘buffalo bull’ (Tamil) Rebus: khãḍ '(metal) tools, pots and pans' (Gujarati) கண்டி kaṇṭi buffalo bull (Tamil) kaṇḍ ‘buffalo’; rebus: kaṇḍ ‘stone (ore)’.
lokhãḍ ‘overflowing pot’ Rebus: ʻtools, iron, ironwareʼ (Gujarati)
kāru‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar‘blacksmith’ (Kashmiri) kola‘tiger’ Rebus: kol ‘working in iron’ (Tamil).
![]()
Mohenjo-daro seal m0304. The
platform is atop two stacks of hay
(straw).
![]()
The pair of antelopes have their heads turned backwards. క్రమ్మర krammara. adv. Again. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు.krəm backʼ(Kho.)(CDIAL 3145) Rebus: karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali) The two antithetical antelopes thus denote: tagar kamar‘tin artisan, tin smith, tin merchant.’
![]()
Thus, the scribe on the Nagarjunakonda sculpture can now be named: kaṇḍa kanka -- 1. kanka, karṇaka‘engraver, scribe’ -- a remarkable continuum of the legacy of writing systems which originated in Sarasvati-Sindhu civilization ca. 3500 BCE.
![]()
The engraver, scribe is shown holding a wedge on the Nagarjunakonda sculptural frieze: The phrase, tanana mleccha may be related to: (i) tah’nai, ‘engraver’ mleccha; or (ii) tana, ‘of (mleccha) lineage’. 1. See Kuwi. tah’nai‘to engrave’ in DEDR and Bsh. then, thon, ‘small axe’ in CDIAL: DEDR 3146 *Go.* (Tr.) tarcana (Mu.) tarc- to scrape; (Ma.) tarsk- id., plane; (D.) task-, (Mu.) tarsk-/tarisk- to level, scrape (*Voc.*1670). Alternative: kõda ‘young bull-calf’. koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.) कोंद kōnda‘engraver, lapidary setting or infixing gems’ (Marathi)
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The images is only used as an example to show the nature of the stylus (possibly Roman). These are NOT an archaeologically attested, provenanced artifacts. Scribe uses a metal -- bronze stylus -- pointed needle (Pen, nib aha, as in ib, 'iron') to engrave writing on palm-leaves.![Bronze stylus]()
Imperial
Date:
1st‒2nd century A.D.
Culture:
Roman
Medium:
Bronze
Dimensions:
2 15/16 in. (7.5 cm.)
![burin]()
This small flint tool comes from the area of Amiens, France. It dates from the Magdalenian period of the Upper Paleolithic, or late Old Stone Age, about seventeen to eleven thousand years ago. The tool, called a "burin" was used for engraving on bone, antler, and stone. It shows how finely the people of the Upper Paleolithic could shape and retouch their stone tools.
The people of the European Upper Paleolithic, often called Cro-Magnons, were anatomically modern humans, Homo sapiens. Dr. Wilson adopted the accepted classificaitons of their culture at the time, which was a scheme of three stages. Each stage is defined by a characteristic technological complex and named for a French archaeological site in which that complex was found: The Aurignacian first, the Solutrean following, and finally the Magdalenian. This sequence takes in the period of 40,000 to 11,000 years ago, and we now know that it applies only to Europe.
![File:Stylus.jpg]()
Examples of 4 Medieval styluses for writing on wax tablets. Two are made of iron, one brass and one bone stylus.
![]()
Metal styluses, Katargama (Sri Lanka)
![]()
Stylus with steel tip & sheath (Sri Lanka).
![]()
Borobudur temple frieze. Narrative of the Siddhartha Gautama becoming an
ascetic. At the bottom write is a scribe holding a stylus.
![]()
The palmyra leaves were used as paper to write books in ancient India. The letters were written with an iron stylus.![]()
Halebi. Sculpture. Ganesa holds one of his broken tusks on his right hand, depicting him as a scribe (engraver). This is an abiding metaphor in Hindu civilization tradition. (ibha'elephant' Rebus: ib'iron' (Santali) ![]()
http://www.scribd.com/doc/128466400/Sarasvati-Catherine-Ludvik
Ludvik, Catherine, 2007, Sarasvati, riverine godess of knowledge: From the manuscript-carrying Vina-player to the weapon-wielding defender of the Dharma, Leiden, Boston, Brill.
This remarkable work is embedded because the Chinese translation (by Yijing in 703 CE) of The Sutra of Golden Light does not exist in its original Sanskrit version and is dealt with by Catherine Ludvik to demonstrate the significance of Sarasvati in Hindu-Bauddham traditions in a continuum which starts from the Rigveda for the protection of Dharma-Dhamma.
Sarasvati is a divinity of eloquence, connected with inspired thought -- dhī closely linked with vāc as speech and knowledge --and exemplifies the Meluhha traditions of vernacular and writing systems unraveled by the Bronze-Age Meluhha hieroglyph cipher evidenced by about 7000 epigraphs found in the Ancient Near East.
Vākis called the language of Bharatas, Bhāratī. It is the voice, it is the vernacular and music. brahma vai vāk, mantra or chandas is speech. (ABr. 4.21.1) Hence, Sarasvati or Brāhmīcan be related to both the literary and vernacular versions: Sanskrit and Mleccha (Meluhha). Vāk is the power behind all actions (RV 10.125.4-6). This power makes her to claim in a monologue: I am the Rāṣṭrī (that is, feminine form of Rāṣṭram-- the stable, lighted path bountiful in waters).
S Kalyanaraman
Sarasvati Research Center
platform is atop two stacks of hay
(straw).
Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali) H. lokhaṇḍ m. ʻiron tools, pots and pansʼ; G. lokhãḍ n. ʻtools, iron, ironwareʼ, the word khaṇḍ denotes ‘tools, pots and pans and metal-ware’.
Ta. takar sheep, ram, goat, male of certain other animals (yāḷi, elephant, shark). பொருநகர் தாக்கற்குப் பேருந் தகைத்து (குறள், 486).Ma. takaran huge, powerful as a man, bear, etc. Ka. tagar, ṭagaru, ṭagara, ṭegaru ram. Tu. tagaru, ṭagarů id. Te. tagaramu, tagaru id. / Cf. Mar. tagar id. (DEDR 3000). Rebus 1: tagromi 'tin, metal alloy' (Kuwi) takaram tin, white lead, metal sheet, coated with tin (Ta.); tin, tinned iron plate (Ma.); tagarm tin (Ko.); tagara, tamara, tavara id. (Ka.) tamaru, tamara, tavara id. (Ta.): tagaramu, tamaramu, tavaramu id. (Te.); ṭagromi tin metal, alloy (Kuwi); tamara id. (Skt.)(DEDR 3001). trapu tin (AV.); tipu (Pali); tau, taua lead (Pkt.); tū̃ tin (P.); ṭau zinc, pewter (Or.); tarūaum lead (OG.); tarvũ(G.); tumba lead (Si.)(CDIAL 5992). Rebus 2: damgar ‘merchant’.
The pair of antelopes have their heads turned backwards. క్రమ్మర krammara. adv. Again. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు.krəm backʼ(Kho.)(CDIAL 3145) Rebus: karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali) The two antithetical antelopes thus denote: tagar kamar‘tin artisan, tin smith, tin merchant.’ 
Thus, the scribe on the Nagarjunakonda sculpture can now be named: kaṇḍa kanka -- 1. kanka, karṇaka‘engraver, scribe’ -- a remarkable continuum of the legacy of writing systems which originated in Sarasvati-Sindhu civilization ca. 3500 BCE.kaṇḍa kanka is lit. a stone scribe account, an engraver of a writing system with representations of messages using Meluhha hieroglyphs.
The cartouches shown atop haystacks (stack of straw), on the Nagarjunakonda sculptural fragment depicting the 'scribe' are relatable to the same rebus readings as Meluhha hieroglyphs.
The engraver, scribe is shown holding a wedge on the Nagarjunakonda sculptural frieze: The phrase, tanana mleccha may be related to: (i) tah’nai, ‘engraver’ mleccha; or (ii) tana, ‘of (mleccha) lineage’. 1. See Kuwi. tah’nai‘to engrave’ in DEDR and Bsh. then, thon, ‘small axe’ in CDIAL: DEDR 3146 *Go.* (Tr.) tarcana (Mu.) tarc- to scrape; (Ma.) tarsk- id., plane; (D.) task-, (Mu.) tarsk-/tarisk- to level, scrape (*Voc.*1670). Alternative: kõda ‘young bull-calf’. koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.) कोंद kōnda‘engraver, lapidary setting or infixing gems’ (Marathi)
The images is only used as an example to show the nature of the stylus (possibly Roman). These are NOT an archaeologically attested, provenanced artifacts. Scribe uses a metal -- bronze stylus -- pointed needle (Pen, nib aha, as in ib, 'iron') to engrave writing on palm-leaves.
Bronze stylus Period:
Paleolithic Burin
This small flint tool comes from the area of Amiens, France. It dates from the Magdalenian period of the Upper Paleolithic, or late Old Stone Age, about seventeen to eleven thousand years ago. The tool, called a "burin" was used for engraving on bone, antler, and stone. It shows how finely the people of the Upper Paleolithic could shape and retouch their stone tools.The people of the European Upper Paleolithic, often called Cro-Magnons, were anatomically modern humans, Homo sapiens. Dr. Wilson adopted the accepted classificaitons of their culture at the time, which was a scheme of three stages. Each stage is defined by a characteristic technological complex and named for a French archaeological site in which that complex was found: The Aurignacian first, the Solutrean following, and finally the Magdalenian. This sequence takes in the period of 40,000 to 11,000 years ago, and we now know that it applies only to Europe.
If you would like to know more about the peoples or tools related to this treasure, follow the link to a longer article in the Wilson Museum Bulletin, Vol. 4, No. 28.
Examples of 4 Medieval styluses for writing on wax tablets. Two are made of iron, one brass and one bone stylus.
Metal styluses, Katargama (Sri Lanka)
Stylus with steel tip & sheath (Sri Lanka).
Borobudur temple frieze. Narrative of the Siddhartha Gautama becoming an
ascetic. At the bottom write is a scribe holding a stylus.
The palmyra leaves were used as paper to write books in ancient India. The letters were written with an iron stylus.
Depiction at Angkor Wat of Vyasa narrating
the Mahabharata to Ganesha, his scribe.
the Mahabharata to Ganesha, his scribe.
http://www.scribd.com/doc/128466400/Sarasvati-Catherine-Ludvik
Ludvik, Catherine, 2007, Sarasvati, riverine godess of knowledge: From the manuscript-carrying Vina-player to the weapon-wielding defender of the Dharma, Leiden, Boston, Brill.
This remarkable work is embedded because the Chinese translation (by Yijing in 703 CE) of The Sutra of Golden Light does not exist in its original Sanskrit version and is dealt with by Catherine Ludvik to demonstrate the significance of Sarasvati in Hindu-Bauddham traditions in a continuum which starts from the Rigveda for the protection of Dharma-Dhamma.
Sarasvati is a divinity of eloquence, connected with inspired thought -- dhī closely linked with vāc as speech and knowledge --and exemplifies the Meluhha traditions of vernacular and writing systems unraveled by the Bronze-Age Meluhha hieroglyph cipher evidenced by about 7000 epigraphs found in the Ancient Near East.
Vākis called the language of Bharatas, Bhāratī. It is the voice, it is the vernacular and music. brahma vai vāk, mantra or chandas is speech. (ABr. 4.21.1) Hence, Sarasvati or Brāhmīcan be related to both the literary and vernacular versions: Sanskrit and Mleccha (Meluhha). Vāk is the power behind all actions (RV 10.125.4-6). This power makes her to claim in a monologue: I am the Rāṣṭrī (that is, feminine form of Rāṣṭram-- the stable, lighted path bountiful in waters).
S Kalyanaraman
Sarasvati Research Center
March 9, 2014.