Deepmala at Jejuri is a skambha, Fiery pillar of light (as Atharva Veda explains)
Each tongue of the flame is to hold a lamp.
History is all around us. Nobody noticed the postman enter the building where the crime was committed, notes GK Chesterton in his detective narratives of Father Brown. But in India, historical memories live long and get celebrated. A good instance is the celebration of Bali Yatra on Karthik Purnima day remembering the ancestors who were seafarers and who participated in Hinduised States of the Far East. Historic narratives remembered and cherished date back to Vedic times.
Aniconic skambha form of sivalinga in Dholavira finds its continuum in Hindu tradition of Khandoba with narratives relating Khandoba as Martanda Bhairava. These narratives remembered and cherished generation after generation evoke the memories of Indus Script Corpora as catalogus catalogorum of metalwork.. The word Khandoba is derived from khaṁḍa -- m. ʻswordʼ (Prakritam). In the annual festivities of Khandoba, a 42 kg. sword is lifted by teeth by participants of a contest celebrating the excellence of metalwork of their ancestors. Sayana
traces the name Malhari to Taittiriya Samhita, Malhari is explained as enemy (ari) of Malha (Prajapati) - an epithet of Rudra, who is considered a rival to deity Prajapati. Prajapati is त्वष्टृ tvāṣṭra.
Skambha (Sivalinga) temple in Dholavira consistent with deciphered Indus Script Sign Board. Evidence for Siva worship.
See: http://bharatkalyan97.blogspot.in/2015/09/tvastra-artisans-divinity-of-fire.html त्वष्टृ tvāṣṭra artisans divinity of fire viśvakarman worshipped as creator by ancient kāru,'smiths' who produced Indus Script Corpora. These narratives are remembered memories of Sarasvati-Sindhu civilization documented in Indus Script Corpora.
Khandoba is worshipped in aniconic form as lingam, known as Martanda Bhairava, a combination of the solar deity Martanda and Shiva's fierce form Bhairava. Malhari Mahatmya (Mallari Mahatmya) from the chapter Kshetra-kanda of the Sanskrit text Brahmanda Purana, records Martanda Bhairava, pleased with the bravery of Malla, takes the name "Mallari" (the enemy of Malla) Sontheimer, Günther-Dietz (1989). "Between Ghost and God: Folk Deity of the Deccan". In Alf Hiltebeitel. Criminal Gods and Demon Devotees: Essays on the Guardians of Popular Hinduism, p.314.
Khandoba temple, Jejuri, Maharashtra.R.C. Dhere and Sontheimer suggests that the Sanskrit Mahatmya was composed around 1460-1510 AD, mostly by a Deshastha Brahmin, to whom Khandoba is the family deity. A version is also available in Marathi by Siddhapal Kesasri (1585). "The Deshastha Brahmins, Chandraseniya Kayastha Prabhus,[37] as well as the royal families like Gaikwads and Holkars worship Khandoba as their Kuldevta. He is also worshipped by Jains and Lingayats. He is viewed as a "king" of his followers...Sayana traces the name Malhari to Taittiriya Samhita, Malhari is explained as enemy (ari) of Malha (Prajapati) - an epithet of Rudra, who is considered a rival to deity Prajapati." (Sontheimer, Günther-Dietz (1990). "God as King for All: The Sanskrit Malhari Mahatmya and its conext In Hans Bakker. The History of Sacred Places in India as Reflected in Traditional Literature. pp.104-7).Other sources include the later texts of Jayadri Mahatmya and Martanda Vijaya by Gangadhara (1821)[Sontheimer, Günther-Dietz (1989). "Between Ghost and God: Folk Deity of the Deccan". In Alf Hiltebeitel. Criminal Gods and Demon Devotees: Essays on the Guardians of Popular Hinduism, p.330] and the oral stories of the Vaghyas, bards of the god.[ibid. pp. 272, 393].
Khandoba with his two chief wives: Mhalsa and Banai.
Khandoba (center) in his four armed form, the two metal images depict him with Mhalsa (Parvati) and Banai (Ganga). The sanctum of the newer Jejuri temple. Khandoba, (Marathi: खंडोबा Kannada: ಖಂಡೋಬಾ, Telugu:ఖండోబా Khaṇḍobā) also known as Martanda Bhairava and Malhari, with attributes of Shiva, Bhairava, Surya and Karttikeya (Skanda). He is depicted either in the form of a Lingam, or as an image of a warrior riding on a bull or a horse. The foremost centre of Khandoba worship is Jejuri in Maharashtra. The legends of Khandoba, found in the text Malhari Mahatmya and also narrated in folk songs, revolve around his victory over demons Mani-malla. "Mhalsa was born as the daughter of a rich merchant in Newase called Tirmarsheth. She was married to Khandoba on Pausha Pournima(the full moon day of Hindu calendar month of Paush) in Pali(Pembar). Two shivlingas appeared on this occasion. An annual festival marking this event is celebrated in Pali every Paush Pournima...Mallana (Mallikaarjuna) of Andhra Pradesh and Mailara of Karnataka are sometimes identified with Khandoba (Mallari, Malhari, Mairaj)...Another traditional narrative identifies Kartikeya (Skanda) with Khandoba." (Cf. two skambhas in Dholavira ceremonial parade ground). "Copper figurines of Khandoba riding on a horse (sometimes with Mhalsa) are worshipped by devotees on a daily basis in the household shrine."
There are over 600 temples dedicated to Khandoba in the Deccan. His temples stretch from Nasik, Maharashtra in the north to Hubli, Karnataka in the south, Konkan, Maharashtra in the west to western Andhra Pradesh in the east. [Stanley, John M. (Nov 1977). "Special Time, Special Power: The Fluidity of Power in a Popular Hindu Festival". The Journal of Asian Studies (Association for Asian Studies) 37 (1): 27–43]. A six-day festival, from the first to sixth lunar day of the bright fortnight of the Hindu month of Margashirsha, Champa Shashti (same as Skanda Shashti), in honour of Khandoba is celebrated at Jejuri
https://en.wikipedia.org/wiki/KhandobaFriday, October 26, 2012
http://puputupu.blogspot.in/2012/10/jejuri-mahakhanda-dasara-42-kg-sword.html#.VgVAUlSqqko
The Jejuri temple of Khandoba. Mani is seen worshipped as a red figure
For worship of Khandoba in the form of a lingam and possible identification with Shiva based on that, see: Mate, M. S. (1988). Temples and Legends of Maharashtra. Bombay: Bharatiya Vidya Bhavan, p. 176. http://en.wikipedia.org/wiki/Khandoba
khaḍgá
खंडा [ khaṇḍā ] m A sort of sword. It is straight and two-edged. खांडेकरी (p. 203) [ khāṇḍēkarī ] m A man armed with the sword called
खंडोबा [ khaṇḍōbā ] m A familiar appellation of the god
A painting depicts Khandoba riding a white horse with Mhalsa, accompanied with a dog and attendants including a Waghya dancing before him.
See: http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html
Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher signifies: tamba, tã̄bṛā, tambira 'copper'
See: three stumps on Sit Shamshi bronze, a multi-tiered tower with six plates of offerings in front, flanked by 8 round balls, two sivalinka skambhas, a temple on a terrace, two persons offering water oblations to the Sun, Middle-Elamite (15th to 12th century BCE)
[kūpa -- 2, stambha -- ] G. kuvātham m. ʻ mast of a ship ʼ.(CDIAL 3403) *ṭhōmba -- . 1. G. ṭhobrũ ʻ ugly, clumsy ʼ.2. M. ṭhõb m. ʻ bare trunk, boor, childless man ʼ, thõbā m. ʻ boor, short stout stick ʼ (LM 340 < stambha -- ).(CDIAL 5514) Rebus: tamba, 'copper' (Meluhha. Indian sprachbund) Numeral three: kolmo 'three' Rebus: kolami 'smithy, forge'. The entire message of Sit Shamshi is bronze is worship of the sun. The message signifies copper metalwork. It is significant that one of the meanings to the Meluhha gloss sūrya is: copper: சூரியன் cūriyaṉ , n. < sūrya. Mountain containing copper; செம்புமலை. (W.)
Two sivalingas are shown in front of the dagoba (dhatu garbha) or ziggurat, comparable to the two skambha in Dholavira.
"The texts mention the "temples of the grove," cave sanctuaries where ceremonies related to the daily renewal of nature were accompanied by deposition of offerings, sacrifice and libations. The Sit Shamshi is perhaps a representation. It is also possible that this object is a commemoration of the funeral ceremonies after the disappearance of the sovereign. Indeed, this model was found near a cave, and bears an inscription in Elamite where Shilhak-Inshushinak remember his loyalty to the lord of Susa, Inshushinak. The text gives the name of the monument, the Sit Shamshi, Sunrise, which refers to the time of day during which the ceremony takes place."
Atharva Veda (X.8.2) declares that Heaven and Earth stand fast being pillared apart by the pillar. Like the pillar, twilight of the dawn and dusk split apart the originally fused Heaven and Earth.
Light of dawn ‘divorces the coterminous regions – Sky and Earth – and makes manifest the several worlds. (RV VII.80; cf. VI.32.2, SBr. IV 6.7.9).
‘Sun is spac, for it is only when it rises that the world is seen’ (Jaiminiya Upanishad Brahmana I.25.1-2). When the sun sets, space returns into the void (JUB III.1.1-2).
Indra supports heavn and earth by ‘opening the shadows with the dawn and the sun’. (RV I.62.5). He ‘extends heaven by the sun; and the sun is the prp whereby he struts it.’ (RV X.111.5).
‘He who knows the Brahman in man knows the Supreme Being and he who knows the Supreme Brahman knows the Stambha’. (AV X. 7.17).
Linga-Purana (I.17.5-52; 19.8 ff.) provides a narrative. Siva appeared before Brahma and Vishnu as a fiery linga with thousands of flames. As a Goose, Brahma attempted to fly to the apex of the column; Vishnu as a Boar plunged through the earth to find the foot of the blazing column. Even after a thousand years, they couldn’t reach the destination, bow in homage to the Pillar of the Universe as the Paramaatman.
He is the ‘Pillar supporting the kindreds, that is, gods and men’. (RV I.59.1-2). He is the standard (ketu) of the yajna (equivalent of the dawn), the standard which supports heaven in the East at daybreak. (RV I.113.19; III.8.8).
The same spectra of meanings abound in Bauddham, as a symbolic continuum. So it is, the Buddha is a fiery pillar, comprising adorants at the feet marked with the Wheel of Dharma and the apex marked by a S’rivatsa (pair of fishes tied together by a thread, read as hieroglyph composition: ayira (metath. ariya) dhama, mandating norms of social, interpersonal conduct). Just as Agni awakens at dawn, the Buddha is the awakened.
Worshippers of a fiery pillar, Amaravati stupa.
Naga worshippers of fiery pillar, Amaravati stupa. Sit-Shamshi (Musée du Louvre, París). Tabla de bronce que parece resumir sabiamente el ritual del antiguo Elam. Los zigurats recuerdan el arte mesopotámico, el bosque sagrado alude a la devoción semita por el árbol verde, la tinaja trae a la mente el “mar de bronce”. Los dos hombres en cuclillas hacen su ablución para celebrar la salida del Sol. Una inscripción, que lleva el nombre del rey Silhak-in-Shushinak, permite fijar su datación en el siglo XII a.C.m1429 Prism tablet with Indus inscriptions on 3 sides.Indus inscription Fired clay L.4.6 cm W. 1.2 cm Sarasvati-Sindhu Civilization. Mohenjo-daro,MD 602, Harappan,ca 2600 -1900 B.CE Islamabad Museum, Islamabad NMP 1384, Pakistan.
Side B: bagalo = an Arabian merchant vessel (Gujarati) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Kannada) Rebus: bangala = kumpaṭi = angāra śakaṭī = a chafing dish a portable stove a goldsmith’s portable furnace (Telugu) cf. bangaru bangaramu = gold (Telugu)
karaṇḍa ‘duck’ (Sanskrit) karaṛa ‘a very large aquatic bird’ (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi)
A pair of birds కారండవము [ kāraṇḍavamu ] n. A sort of duck. కారండవము [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. कारंडव [kāraṇḍava ] m S A drake or sort of duck. कारंडवी f S The female. karandava [ kârandava ] m. kind of duck. कारण्ड a sort of duck R. vii , 31 , 21 கரண்டம் karaṇṭam, n. Rebus: karaḍa 'hard alloy (metal)'. tamar ‘palm’ (Hebrew) Rebus: tam(b)ra ‘copper’ (Santali) dula ‘pair’ Rebus: dul ‘cast metal’ (Santali)
stambha m. ʻ pillar, post ʼ Kāṭh., °aka -- m. Mahāvy.[√stambh]Pa. thambha -- m. ʻ pillar ʼ, Aś.rum. thabhe loc., top. thaṁbhe, ru. ṭha(ṁ)bhasi, Pk. thaṁbha -- , °aya -- , taṁbha -- , ṭhaṁbha -- m.; Wg. štɔ̈̄ma ʻ stem, tree ʼ, Kt. štom, Pr. üštyobu; Bshk. "ṭam"ʻ tree ʼ NTS xviii 124, Tor. thām; K. tham m. ʻ pillar, post ʼ, S. thambhu m.; L. thamm, thammā m. ʻ prop ʼ, (Ju.)tham, °mā, awāṇ. tham, khet. thambā; P. thamb(h), thamm(h) ʻ pillar, post ʼ, Ku. N. B. thām, Or. thamba; Bi. mar -- thamh ʻ upright post of oil -- mill ʼ; H. thã̄bh, thām, thambā ʻ prop, pillar, stem of plantain tree ʼ; OMarw. thāma m. ʻ pillar ʼ, Si. ṭäm̆ba; Md. tambu, tabu ʻ pillar, post ʼ; -- ext. -- ḍ -- : S.thambhiṛī f. ʻ inside peg of yoke ʼ; N. thāṅro ʻ prop ʼ; Aw.lakh. thãbharā ʻ post ʼ; H. thamṛā ʻ thick, corpulent ʼ; -- -- ll -- ; G. thã̄bhlɔ, thã̄blɔ m. ʻ post, pillar ʼ. -- X sthūˊṇā -- q.v. S.kcch.
thambhlo m. ʻ pillar ʼ, A. thām, Md. tan̆bu.
Hieroglyphs signifying pillars of light: tã̄bṛā, tambira (Prakritam) Rebus: tamba, 'copper' (Meluhha. Indian sprachbund)
tamar ‘palm’ (Hebrew) Rebus: tam(b)ra ‘copper’ (Santali)
Rebus readings of the other 2 sides of the Mohenjo-daro tablet:
Side A: kāru a wild crocodile or alligator (Telugu) ghariyal id. (Hindi)
kāru 'crocodile' (Telugu) கராம் karām, n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.) కారుమొసలి a wild crocodile or alligator. (Telugu) Rebus: kāru ‘artisan’ (Marathi) kāruvu 'artisan' (Telugu) khār 'blacksmith' (Kashmiri)
[fish = aya (G.); crocodile = kāru (Telugu)] Rebus: ayakāra ‘ironsmith’ (Pali)
khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.)
Side C: ![]()
Text 3246 on the third side of the prism. kāḍ काड् ‘, the stature of a man’ Rebus: खडा [ khaḍā ] m A small stone, a pebble (Marathi) dula ‘pair’ Rebus: dul ‘cast (metal)’shapes objects on a lathe’ (Gujarati) kanka, karṇaka ‘rim of jar’ Rebus: karṇaka ‘account scribe’. kārṇī m. ʻsuper cargo of a ship ʼ(Marathi)
Alloy ingots
A pair of ingots with notches in-fixed as ligatures.
ḍhālako ‘large ingot’. खोट [khōṭa] ‘ingot, wedge’; A mass of metal (unwrought or of old metal melted down)(Marathi) khoṭ f ʻalloy (Lahnda) Thus the pair of ligatured oval glyphs read: khoṭ ḍhālako ‘alloy ingots’ PLUS dula 'pair' Rebus: dul 'cast metal'.
Forge: stone, minerals, gemstones
ढाळा [ ḍhāḷā ] m A small leafy branch, sprng.
A plant of gram, sometimes of वाटाणा, or of लांक. ढाळी [ ḍhāḷī ] f A branch or bough.
(Marathi) Rebus: ढाळ [ ḍhāḷa Cast, mould, form (as ofmetal vessels, trinkets &c.) (Marathi)
khaḍā ‘circumscribe’ (M.); Rebs: khaḍā ‘nodule (ore), stone’ (M.) kolom ‘cob’; rebus: kolmo ‘seedling, rice (paddy) plant’ (Munda.) kolma hoṛo = a variety of the paddy plant (Desi)(Santali.) kolmo ‘rice plant’ (Mu.) Rebus: kolami ‘furnace,smithy’ (Telugu) Thus, the ligatured glyph reads: khaḍā ‘stone-ore nodule’kolami ‘furnace,smithy’. Alternatives: 1. koṛuŋ young shoot (Pa.) (DEDR 2149)
Rebus: kol iron, working in iron, blacksmith (Tamil) kollan blacksmith, artificer (Malayalam) kolhali to forge.(DEDR 2133).2. kaṇḍe A head or ear of millet or maize (Telugu) Rebus: kaṇḍa ‘stone (ore)(Gadba)’ Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298).
kolmo ‘three’ Rebus: kolami ‘furnace,smithy’. Thus, the pair of glyphs may denote lapidary work – working with stone, mineral, gemstones.
ayo ‘fish’ Rebus: ayas ‘metal’. kāru ‘crocodile’ Rebus: kāru ‘artisan’. Thus, together read rebus: ayakara ‘metalsmith’.
kanka 'rim of jar' (Santali) karṇika id. (Samskritam) Rebus: kārṇī m. ʻsuper cargo of a ship ʼ(Marathi)
meḍ ‘body’, ‘dance’ (Santali) Rebus: meḍ ‘iron’ (Ho.)
kāḍ काड् ‘, the stature of a man’ Rebus: खडा [ khaḍā ] m A small stone, a pebble khaḍā ‘nodule (ore), stone’(Marathi) <khadan> {N} ``a ^mine, place where earth is ^excavated for roads, buildings, etc.''. @2417. #13731.(Munda)
khaḍaka ʻ *erect ʼ, m. ʻ bolt, post ʼ KātyŚr. 2. *khaḍati ʻ stands ʼ. 3. *khāḍayati ʻ makes stand ʼ. [Cf. khadáti ʻ is firm ʼ Dhātup.] and *khalati2 1. K. khoru ʻ standing ʼ, ḍoḍ. khaṛo ʻ up ʼ, pog. khaṛkhuṛ ʻ erect ʼ; S. khaṛo ʻ standing erect ʼ, P. khaṛā, WPah. paṅ. khaṛā, bhad. khaṛo, Or. B.khāṛā, H. khaṛā (→ N. khaṛā), Marw. khaṛo, G. khaṛũ; M. khaḍā ʻ standing, constant ʼ.
2. K. pog. khaṛnu ʻ to stand ʼ, rām. khaṛōnu, ḍoḍ. khaṛōnō; WPah. bhal. caus. khaṛēṇu ʻ to fix ʼ; -- G. khaṛakvũ ʻ to make a heap ʼ.3. K. khārun ʻ to make ascend, lift up ʼWPah.kṭg. khɔ́ṛɔ ʻ erect, upright ʼ; khɔ́ṛhnõ, kc. khɔṛiṇo ʻ to stand, rise ʼ, J. khaṛuwṇu.(CDIAL 3784) So<gAri>(Z) {V(liJ)} ``to be ^level, to stand ^upright''. Nom. <g[An]Ari>.(Munda)
The vernacular in ancient India was Meluhha also called Mleccha. Hundreds of words of this language in Indus-Meluhha writing represented metal-/stone-work hieroglyphs. This was the linear ancestral language of most Indians. It later was known as Deśi or Prākṛts.
http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html <tamba>(ZA) {N} ``^copper''. *Or. #33740.<ta~ba> {N} ``^copper''. *De.<tama>(M),,<tamba>(G). @N0527. #23581.tāmrá ʻ dark red, copper -- coloured ʼ VS., n. ʻ copper ʼ Kauś., tāmraka -- n. Yājñ. [Cf. tamrá -- . -- √tam?] Pa. tamba -- ʻ red ʼ, n. ʻ copper ʼ, Pk. taṁba -- adj. and n.; Dm. trāmba -- ʻ red ʼ (in trāmba -- lac̣uk ʻ raspberry ʼ NTS xii 192); Bshk. lām ʻ copper, piece of bad pine -- wood (< ʻ *red wood ʼ?); Phal. tāmba ʻ copper ʼ (→ Sh.koh. tāmbā), K. trām m. (→ Sh.gil. gur. trām m.), S. ṭrāmo m., L. trāmā, (Ju.)tarāmã̄ m., P. tāmbā m., WPah. bhad. ṭḷām n., kiũth. cāmbā, sod. cambo, jaun. tã̄bō, Ku. N. tāmo (pl. ʻ young bamboo shoots ʼ), A. tām, B. tã̄bā, tāmā, Or.tambā, Bi tã̄bā, Mth. tām, tāmā, Bhoj. tāmā, H. tām in cmpds., tã̄bā, tāmā m., G. trã̄bũ, tã̄bũ n.;M. tã̄bẽ n. ʻ copper ʼ, tã̄b f. ʻ rust, redness of sky ʼ; Ko.tāmbe n. ʻ copper ʼ; Si. tam̆ba adj. ʻ reddish ʼ, sb. ʻ copper ʼ, (SigGr) tam, tama. -- Ext. -- ira -- : Pk. taṁbira -- ʻ coppercoloured, red ʼ, L. tāmrā ʻ copper -- coloured (of pigeons) ʼ; -- with -- ḍa -- : S. ṭrāmiṛo m. ʻ a kind of cooking pot ʼ, ṭrāmiṛī ʻ sunburnt, red with anger ʼ, f. ʻ copper pot ʼ; Bhoj. tāmrā ʻ copper vessel ʼ; H. tã̄bṛā, tāmṛā ʻ coppercoloured, dark red ʼ, m. ʻ stone resembling a ruby ʼ; G. tã̄baṛ n., trã̄bṛī, tã̄bṛī f. ʻ copper pot ʼ; OM. tāṁbaḍā ʻ red ʼ. -- X trápu -- q.v. tāmrá -- [< IE. *tomró -- T. Burrow BSOAS xxxviii 65] S.kcch. trāmo,
tām(b)o m. ʻ copper ʼ, trāmbhyo m. ʻ an old copper coin ʼ; WPah.kc. cambo m. ʻ copper ʼ, J. cāmbā m., kṭg. (kc.) tambɔ m. (← P. or H. Him.I 89), Garh. tāmu, tã̄bu. (CDIAL 5779)
tāmrakāra m. ʻ coppersmith ʼ lex. [tāmrá -- , kāra -- 1]Or. tāmbarā ʻ id. ʼ.(CDIAL 5780)
tāmrakuṭṭa m. ʻ coppersmith ʼ R. [tāmrá -- , kuṭṭa -- ] N. tamauṭe, tamoṭe ʻ id. ʼ.Garh. ṭamoṭu ʻ coppersmith ʼ; Ko. tāmṭi. (CDIAL 5781)
skabha 13638 *skabha ʻ post, peg ʼ. [√skambh]
Kal. Kho. iskow ʻ peg ʼ BelvalkarVol 86 with (?).
SKAMBH ʻ make firm ʼ: *skabdha -- , skambhá -- 1, skámbhana -- ; -- √*chambh.
skambhá 13639 skambhá1 m. ʻ prop, pillar ʼ RV. 2. ʻ *pit ʼ (semant. cf. kūˊpa -- 1). [√skambh]1. Pa. khambha -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ; Pr. iškyöp, üšköb ʻ bridge ʼ NTS xv 251; L. (Ju.) khabbā m., mult. khambbā m. ʻ stake forming fulcrum for oar ʼ; P. khambh, khambhā, khammhā m. ʻ wooden prop, post ʼ; WPah.bhal. kham m. ʻ a part of the yoke of a plough ʼ, (Joshi)khāmbā m. ʻ beam, pier ʼ; Ku. khāmo ʻ a support ʼ, gng. khām ʻ pillar (of wood or bricks) ʼ; N. khã̄bo ʻ pillar, post ʼ, B. khām, khāmbā; Or. khamba ʻ post, stake ʼ; Bi. khāmā ʻ post of brick -- crushing machine ʼ, khāmhī ʻ support of betel -- cage roof ʼ, khamhiyā ʻ wooden pillar supporting roof ʼ; Mth. khāmh,khāmhī ʻ pillar, post ʼ, khamhā ʻ rudder -- post ʼ; Bhoj. khambhā ʻ pillar ʼ, khambhiyā ʻ prop ʼ; OAw. khāṁbhe m. pl. ʻ pillars ʼ, lakh. khambhā; H. khāmm. ʻ post, pillar, mast ʼ, khambh f. ʻ pillar, pole ʼ; G. khām m. ʻ pillar ʼ, khã̄bhi, °bi f. ʻ post ʼ, M. khã̄b m., Ko. khāmbho, °bo, Si. kap (< *kab); -- Xgambhīra -- , sthāṇú -- , sthūˊṇā -- qq.v.2. K. khambürü f. ʻ hollow left in a heap of grain when some is removed ʼ; Or. khamā ʻ long pit, hole in the earth ʼ, khamiā ʻ small hole ʼ; Marw. khã̄baṛoʻ hole ʼ; G. khã̄bhũ n. ʻ pit for sweepings and manure ʼ. Garh. khambu ʻ pillar ʼ.
Kal. Kho. iskow ʻ peg ʼ BelvalkarVol 86 with (?).
SKAMBH ʻ make firm ʼ: *skabdha -- , skambhá -- 1, skámbhana -- ; -- √*chambh.
S. Kalyanaraman
Sarasvati Research Center
September 25, 2015