Mirror: http://tinyurl.com/og4dz4q

A fragment called 'spinner' is a relief of bitumen mastic from Susa. This relief has remarkable Indus Script hieroglyphs and has been called a Rosetta Stone of Indus Script cipher. One characteristic feature of the hieroglyph-multiplex is the use of a numerical semantic determinative. Six round objects are shown on a fish. In this pictorial, fish is a hieroglyph. Numeral six is a hieroglyph. Together, the Indus Script cipher is: aya'fish' Rebus: ayas'metal'goṭ 'round' Rebus: khoṭ 'alloy' PLUS bhaṭa'six' Rebus: bhaṭa'furnace.' Thus, the hieroglyph-multiplex proclaims the message: aya khoṭ bhaṭa 'metal (alloy) furnace'. Similar examples of the significance of 'six' numeral as a cipher from Ancient Near East are presented to signify phrases such as: meḍ bhaṭa'iron furnace'. करडा karaḍā bhaṭa'hard alloy furnace'.

Numeral bhaṭa 'six' is an Indus Script cipher, rebus bhaṭa‘furnace’; baṭa 'iron'.

Ibni-Sharrum cylinder seal shows a kneeling person with six curls of hair.Cylinder seal of Ibni-sharrum, a scribe of Shar-kali-sharri (left) and impression (right), ca. 2183–2159 B.C.; Akkadian, reign of Shar-kali-sharri.
http://bharatkalyan97.blogspot.in/2013/08/ancient-near-east-bronze-age-heralded.html

Four standard-bearers with six curls of hair. http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-jasper-cylinder-seal.html

Hieroglyph: मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Thus, the four Akkadian standard bearers are meḍ bhaṭa iron-furnace metal- workers producing alloy implements, moltencast metalcastings, crucible ingots. The hooded snake reinforces the semantic determinative: kulA 'hooded serpent' Rebus: kolle 'blacksmith' kol 'working in iron'.

The proclamation (sangara) is that four types of furnaces are announced: for aya 'fish' rebus: ayas 'metal'; lokhANDa 'overflowing pot' Rebus: lokhANDa 'metal implements'; arka 'sun' Rebus: eraka 'moltencast copper'; koThAri 'crucible' ebus: Or. koṭhārī ʻ treasurer ʼ; Bhoj. koṭhārī ʻ storekeeper ʼ, H. kuṭhiyārī m. kōṣṭhāgārika -- : G. koṭhārī m. ʻ storekeeper ʼ.(CDIAL 3551)kulA 'hood of serpent' Rebus: kolle 'blacksmith'. Rebus representation is indicated by a determinative: a conical jar containing ingots. Thus, the reference to the 'crucible' may be a message related to ingots of alloys produced from the crucible, the way the traditions evolved to produce crucible steel.

Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159 B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression). The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held).

कारंडा [ kāraṇḍā ]करंडा [ karaṇḍā ] m A chump or block. the stock or fixed portion of the staff of the large leaf-covered summerhead or umbrella. A clump, chump, or block of wood. करांडा [ karāṇḍā ] m C A cylindrical piece as sawn or chopped off the trunk or a bough of a tree; a clump, chump, or block. करोळा [ karōḷā ] m The half-burnt grass of a Potter's kiln: also a single stalk of it. Kalanda [cp. Sk. karaṇḍa piece of wood?] heap, stack (like a heap of wood? cp. kalingara) Miln 292 (sīsa˚) (Pali) करण्ड [L=44277] n. a piece of wood , block Bhpr.

Rebus: करडा [ karaḍā ]Hard from alloy--iron, silver &c. (Marathi)

Seal m 1186 Mohenjo-daro http://bharatkalyan97.blogspot.in/2015/08/indus-script-hieroglyphs-metalwork.html?view=classic

Detail of the seal.(Framework, ficus religiosa, scarfed person, twig, horn)

baṭa = rimless pot (Kannada) loa 'ficus religiosa' Rebus: loh 'copper'
bhaṭa = six Rebus: baṭa = a kind of iron; bhaTa furnace' (Gujarati)
kara 'wristlets, bangle' (Gujarati) Rebus: khAr 'blacksmith' kuTi 'twig' Rebus: kuThi 'smelter' dhatu 'scarf' Rebus: dhatu 'mineral (ore)' (Santali)

Hieroglyph: bhaṭa 'six' (Gujarati) Rebus: baṭi, bhaṭi ‘furnace’ (H.) Rebus: baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali). bhaṭa = an oven, kiln, furnace (Santali) baṭhi furnace for smelting ore (the same as kuṭhi) (Santali) bhaṭa = an oven, kiln, furnace; make an oven, a furnace; iṭa bhaṭa = a brick kiln; kun:kal bhaṭa a potter’s kiln; cun bhaṭa = a lime kiln; cun tehen dobon bhaṭaea = we shall prepare the lime kiln today (Santali); bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali); bhaṭṭha -- m.n. ʻ gridiron (Pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656)

Santali glosses

Hair curls of the person holding the fan behind the spinner lady

Hieroglyph: मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Early Dynastic II/III seal in the 'Fara' style (after Mallowan, 1961: 75, no.34).

Dark grey steatite bowl carved in relief. Zebu or brahmani bull is shown with its hump back; a male figure with long hair and wearing a kilt grasps two sinuous objects, representing running water, which flows in a continuous stream. Around the bowl, another similar male figure stands between two lionesses with their head turned back towards him; he grasps a serpent in each hand. A further scene (not shown) represents a prostrate bull which is being attacked by a vulture and a lion.

On this cylinder seal, the 'hero' is shown with six circles, curls (?) on his hair. Length: 4.120 cm. Diameter: 3.650 cm. Early dynastic period ca. 2700 BCE.

Source: http://www.britishmuseum.org/explore/highlights/highlight_objects/me/w/calcite_seal,_combat_scene.aspx

http://bharatkalyan97.blogspot.in/2011/11/sit-shamshi-bronze-glyphics-compared.html

m0308 Mohenjodaro seal. Person grappling with two flanking tigers standing and rearing on their hindlegs. Comparable to the Mesopotamian cylinder seal (BM 89538), this Indus seal depicts a person with six hair-knots. kaṇṇahāra -- m. ʻhelmsman, sailor’. ( काणkāṇa ‘one-eyed’, āra ‘six’, ‘rings of hair’ symbolic forms). kannār 'coppersmiths'; kan 'copper'. arye 'lion' Rebus: āra 'brass'.

Fig.85; Susa, tablet: seal impression, Louvre Sb 11221 Six kids. http://bharatkalyan97.blogspot.in/2015/05/pie-and-vedic-studies-multi-layered.html

Hieroglyph: करंडा [ karaṇḍā ] m (करंड S) A casket (of metal, wood, ivory). 2 A covered basket of bamboo. (Marathi)

Hieroglyph: करडूं or करडें (p. 137) [ karaḍū or ṅkaraḍēṃ ] n A kid. कराडूं (p. 137) [ karāḍūṃ ] n (Commonly करडूं) A kid. Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c. (Marathi ) करडा [ karaḍā ] m The arrangement of bars or embossed lines (plain or fretted with little knobs) raised upon a तार of gold by pressing and driving it upon the अवटी or grooved stamp. Such तारis used for the ornament बुगडी, for the hilt of a पट्टा or other sword &c. Applied also to any similar barform or line-form arrangement (pectination) whether embossed or indented; as the edging of a rupee &c.खरड (p. 197) [ kharaḍa ] f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch.

Fig. 104; Failaka; no. 89 impression; bulls; antelopes; person; chequered square; trough? [A trough in front of an animal is a typical motif on Indus inscriptions.]

"Susa... profound affinity between the Elamite people who migrated to Anshan and Susa and the Dilmunite people... Elam proper corresponded to the plateau of Fars with its capital at Anshan. We think, however that it probably extended further north into the Bakhtiari Mountains... likely that the chlorite and serpentine vases reached Susa by sea... From the victory proclamations of the kings of Akkad we also learn that the city of Anshan had been re-established, as the capital of a revitalised political ally: Elam itself... the import by Ur and Eshnunna of inscribed objects typical of the Harappan culture provides the first reliable chronological evidence. [C.J. Gadd, Seals of ancient style found at Ur, Proceedings of the British Academy, XVIII, 1932; Henry Frankfort, Tell Asmar, Khafaje and Khorsabad, OIC, 16, 1933, p. 50, fig. 22). It is certainly possible that writing developed in India before this time, but we have no real proof. Now Susa had received evidence of this same civilisation, admittedly not all dating from the Akkadian period, but apparently spanning all the closing years of the third millennium (L. Delaporte, Musee du Louvre. Catalogues des Cylindres Orientaux..., vol. I, 1920pl. 25(15), S.29. P. Amiet, Glyptique susienne, MDAI, 43, 1972, vol. II, pl. 153, no. 1643)... B. Buchanan has published a tablet dating from the reign of Gungunum of Larsa, in the twentieth century BC, which carries the impression of such a stamp seal. (B.Buchanan, Studies in honor of Benno Landsberger, Chicago, 1965, p. 204, s.). The date so revealed has been wholly confirmed by the impression of a stamp seal from the group, fig. 85, found on a Susa tablet of the same period. (P. Amiet, Antiquites du Desert de Lut, RA, 68, 1974, p. 109, fig. 16. Maurice Lambert, RA, 70, 1976, p. 71-72). It is in fact, a receipt of the kind in use at the beginning of the Isin-Larsa period, and mentions a certain Milhi-El, son of Tem-Enzag, who, from the name of his god, must be a Dilmunite. In these circumstances we may wonder if this document had not been drawn up at Dilmun and sent to Susa after sealing with a local stamp seal. This seal is decorated with six tightly-packed, crouching animals, characterised by vague shapes, with legs under their bodies, huge heads and necks sometimes striped obliquely. The impression of another seal of similar type, fig. 86, depicts in the centre a throned figure who seems to dominate the animals, continuing a tradition of which examples are known at the end of the Ubaid period in Assyria... Fig. 87 to 89 are Dilmun-type seals found at Susa. The boss is semi-spherical and decorated with a band across the centre and four incised circles. [Pierre Amiet, Susa and the Dilmun Culture, pp. 262-268].

Dilmun (Failaka) seals [Poul Kjaerum, The Dilmun Seals as evidence of long distance relations in the early second millennium BC, pp. 269-277.]

Fig.96a; Dilmun seal from Barbar; six heads of antelope radiating from a circle; similar to animal protomes in Filaka, Anatolia and Indus.

An Early Dynastic II votive plaque from the Inanna temple at Nippur VIII (after Pritchard, 1969: 356, no. 646). "It has something very Harappan about it also in the lower part depicting two ‘unicorn’ bulls around a tree. The six dots around the head of the Harappan hero, clearly visible in one seal (Mohenjodaro, DK 11794; cf. Mackay, 1937: II, pl. 84:75) may be compared to the six locks of hair characteristic of the Mesopotamian hero from Jemdet Nasr to Akkadian times (cf. Calmeyer, 1957-71: 373). From the Early Dynastic period onwards the scene usually comprises a man fighting with one or two bulls, and a bull-man fighting with one or two lions....North-west India of the third millennium BC can be considered as an integral, if marginal, part of the West Asian cultural area." (Parpola, A., New correspondences between Harappan and Near Eastern glyptic art, in: Bridget Allchin (ed.), South Asian Archaeology, 1981, Cambridge, Cambridge University Press, 1984).

One-Eyed Hero with Lions Flanked by Enclosures Iran (?) (ca. 3100 B.C.E) 50 x 40 mm Seal No. 4"Seal 4 presents as its central figure a cyclopic hero holding lions. The rest of the scene includes animals, pots, and other types of containers, as well as a human figure and two lion-headed eagles, all apparently meant to be within an inclosure indicated by two stockade-like frames. A related theme is found in a fragment of a vase from Khafajah.... The nude bearded hero seen in 4 remained a stock figure of the Mesopotamian repertory, aapearing for the most part in contst scenes. The cyclopic version of this figure in 4 is paralleled in only one other instance, an Early Dynastic seal impression from Fara (ancient Shuruppak). A plaque from Khafajah of some thousand years later shows a cyclopic demon whose head has the form of a sun. Because of the wide gap in time, however, there is no assurance that the hero in 4 is to be associated in any manner with this figure."--Porada, CANES, p. 3Center: nude one-eyed hero holding two reversed lions, two more lions forming pyramid above him -- Left: section of inclosure containing sheep, latter between two pots, with lion-headed eagle perched on head of sheep; basket, pouch(?), fish, and bird in upper field -- Right: sheep-headed demon grasping pole of second section of inclosure; within latter, human figure(?) with upturned curls holding in outstretched hands indefinable curved object marked by vertical incisions; lion-headed eagle above horns of sheep-demon; crib(?) in upper field.

Cylinder unperforated; in both top and bottom shallow central cavity and outer circle of small depressions."Seal 4 presents as its central figure a cyclopic hero holding lions. The rest of the scene includes animals, pots, and other types of containers, as well as a human figure and two lion-headed eagles, all apparently meant to be within an inclosure indicated by two stockade-like frames. A related theme is found in a fragment of a vase from Khafajah.... The nude bearded hero seen in 4 remained a stock figure of the Mesopotamian repertory, aapearing for the most part in contst scenes. The cyclopic version of this figure in 4 is paralleled in only one other instance, an Early Dynastic seal impression from Fara (ancient Shuruppak). A plaque from Khafajah of some thousand years later shows a cyclopic demon whose head has the form of a sun. Because of the wide gap in time, however, there is no assurance that the hero in 4 is to be associated in any manner with this figure."--Porada, CANES, p. 3 http://www.themorgan.org/collections/collections.asp?id=789

Deśī is a lexis entry by which Hemacandra understands words and their meanings. For a documentation on Deśī, see: Sharma, Sheo Murti, 1980, Ācārya Hemacandra racita Deśī nāma mālā kā bhāshā vaijñānika adhyayana, Jayapura, Devanagara Prakasana. The work is a Prakritam lexis and dictionary of Hemachandra, a disciple of Devacandra. He lived between 1088-1172.

The work is deśa-bhāṣā lexicon by the Jaina polymath Hemacandra-sūrī. It is देशीशब्दसंग्रह a lexis which takes us closer to Meluhha speech -- at least for some parts of the lexis. (Indian sprachbund). http://dli.serc.iisc.ernet.in/handle/2015/352282

It is a challenge to delineate the phonetic forms of the lexis ca. 3500 BCE when the evidence of first writing system emerges. (See potsherd of Harappa dated to ca. 3300 BCE with Indus script hieroglyph).
Image result for h097 seal harappa

Potsherd. Harappa. With hieroglyph of Indus script.

One of the 'Rosetta stones' identified to validate Indus Script decipherment is the spinner lady on a bitumen mastic of neo-elamite period. See:
http://bharatkalyan97.blogspot.in/2015/07/rosetta-stones-for-deciphered-indus.html
http://bharatkalyan97.blogspot.in/2012/05/spinner-bas-relief-of-susa-8th-c-bce.html "Hieroglyphs of a spinner bas-relief fragment from Susa dated to 8th cent. BCE (now in Louvre Museum) are identified. The Elamite lady spinner bas-relief is a composition of hieroglyphs depicting a guild of wheelwrights or ‘smithy of nations’ (harosheth hagoyim). The hieroglyphs are read rebus using lexemes of Indian sprachbund given the archeological evidence of Meluhha settlers in Susa."

H. 9 cm. W. 13 cm. Bituminous stone, a matte, black sedimentary rock. With her arms full of bracelets, the spinner holding a spindle is seated on a stool with tiger-paw legs. Elegantly coiffed, her hair is pulled back in a bun and held in place with a headscarf crossed around her head. Behind the spinner is an attendant holding a square wickerwork(?) fan. In front is a table with tiger-paw legs, a fish with six bun ingots. Susa. Neo-elamite period. 8th to 6th century BCE. The bas-relief was first cited in J, de Morgan's Memoires de la Delegation en Perse, 1900, vol. i. plate xi Ernest Leroux. Paris. Current location: Louvre Museum Sb2834 Near Eastern antiquities, Richelieu, ground floor, room 11.

Reviewing eight volumes of Délégation en Perse, Memories publiès sous la direction de M. J. de Morgan, délégué-général (quarto, Leroux, editeur, Paris) and noting that a ninth volume was in print (1905), Ernst Babelon offers the following comments on the ‘bas-relief of the spinner’ of the Elamite Period (3400 - 550 BCE): “Again Chaldæan in origin, although of far later date, is a small diorite fragment of bas-relief called the bas-relief of the Spinner. It represents a woman sitting on a stool, her legs crossed and feet behind in the tailor's attitude. She is holding her spindle with both hands; in front of her is a fish lying on a table, and behind her a slave is waving the fly-flap.The round chubby faces of the figures recall the bas-reliefs of Khorsabad, which represent the eunuchs of the Ninevite palace.” (Ernst Babelon, 1906, Archaeological discoveries at Susa, in: Encyclopaedia Iranica.) http://www.cais-soas.com/CAIS/Archaeology/susa.htm

Porada refers to the bas-relief as from the neo-Elamite period and notes, from the details of dress and jewelry, of hair style and furniture found on the relief: “One would like to conclude from this that the Elamites were principally metal-workers who favoured more than other techniques that of modeling in wax in preparation for casting.” (Edith Porada, with the collaboration of RH Dyson and contributions by C K Wilkinson, The art of elamites http://www.iranchamber.com/art/articles/art_of_elamites.php )

Elamites used bitumen, a naturally occurring mineral pitch, or asphalt, for vessels, sculpture, glue, caulking, and waterproofing. Characteristic artifacts of Susa of 2nd millennium are of bitumen compound (containing ground-up calcite and quartz grains). Bitumen is naturally available around Susa and in Khuzistan. (Connan, I. and Deschesne, O. 1996. Le Bitume d Suse: Collection du Musee du Louvre. Paris: Reunion des Musees Nationaux, 228-337.) While discounting the possibility of Chaldæan origin, it is possible that the bas-relief was made at Susa by bronze-age settlers in Susa using the locally available bitumen.

The fish on a stool in front of the spinner with head-wrap can be read rebus for key hieroglyphs:

Hieroglyph: small ball: *gōṭṭa ʻ something round ʼ. [Cf. guḍá -- 1. -- In sense ʻ fruit, kernel ʼ cert. ← Drav., cf. Tam. koṭṭai ʻ nut, kernel ʼ, Kan. goṟaṭe &c. listed DED 1722]K. goṭh f., dat. °ṭi f. ʻ chequer or chess or dice board ʼ; S. g̠oṭu m. ʻ large ball of tobacco ready for hookah ʼ, °ṭī f. ʻ small do. ʼ; P. goṭ f. ʻ spool on which gold or silver wire is wound, piece on a chequer board ʼ; N. goṭo ʻ piece ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece ʼ, °ṭā ʻ globular, solid ʼ, guṭi ʻ small ball, seed, kernel ʼ; B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ whole, undivided ʼ, goṭi ʻ small ball, cocoon ʼ, goṭāli ʻ small round piece of chalk ʼ; Bi. goṭā ʻ seed ʼ; Mth. goṭa ʻ numerative particle ʼ; H. goṭ f. ʻ piece (at chess &c.) ʼ; G. goṭ m. ʻ cloud of smoke ʼ, °ṭɔm. ʻ kernel of coconut, nosegay ʼ, °ṭī f. ʻ lump of silver, clot of blood ʼ, °ṭilɔ m. ʻ hard ball of cloth ʼ; M. goṭā m. ʻ roundish stone ʼ, °ṭī f. ʻ a marble ʼ, goṭuḷā ʻ spherical ʼ; Si. guṭiya ʻ lump, ball ʼ; -- prob. also P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ.*gōḍḍ -- ʻ dig ʼ see *khōdd -- .Addenda: *gōṭṭa -- : also Ko. gōṭu ʻ silver or gold braid ʼ.(CDIAL 4271) Rebus: L. khoṭ f. ʻ alloyʼ,°ṭā ʻ alloyed ʼ, awāṇ. khoṭā ʻ forged ʼ; P. khoṭ m. ʻ base, alloy ʼG. khoṭũ ʻ alloyedʼ; M. khoṭā ʻ alloyed ʼ(CDIAL 3931)

khuṭo ʻleg, footʼ. khũṭ ‘community, guild’ (Santali)

kāti ‘spinner’ rebus: ‘wheelwright.’

vēṭha’head-wrap’. Rebus: veṭa , veṭha, veṇṭhe ‘a small territorial unit’.

sāi kol ayas kāṇḍa baṭa ‘friend+tiger+fish+stool+six’ rebus: association (of) iron-workers’ metal stone ore kiln.

The Elamite lady spinner bas-relief is a composition of hieroglyphs depicting a guild of wheelwrights or ‘smithy of nations’ (harosheth hagoyim).

1. Six bun ingots. bhaṭa ‘six’ (Gujarati). Rebus: bhaṭa ‘furnace’ (Gujarati.Santali)

2. ayo ‘fish’ (Munda). Rebus: ayas ‘metal’ (Sanskrit) aya ‘metal’ (Gujarati)

3. kātī ‘spinner’ (G.) kātī ‘woman who spins thread’ (Hindi). Rebus: khātī ‘wheelwright’ (Hindi). kāṭi = fireplace in the form of a long ditch (Ta.Skt.Vedic) kāṭya = being in a hole (VS. XVI.37); kāṭ a hole, depth (RV. i. 106.6) khāḍ a ditch, a trench; khāḍ o khaiyo several pits and ditches (G.) khaṇḍrun: ‘pit (furnace)’ (Santali) kaḍaio ‘turner’ (Gujarati)

4. kola ‘woman’ (Nahali). Rebus: kolami ‘smithy’ (Te.)

5. Tiger’s paws. kola ‘tiger’ (Telugu); kola ‘tiger, jackal’ (Kon.). Rebus: kol ‘working in iron’ (Tamil) Glyph: ‘hoof’: Kumaon. khuṭo ʻleg, footʼ, °ṭī ʻgoat's legʼ; Nepalese. khuṭo ʻleg, footʼ(CDIAL 3894). S. khuṛī f. ʻheelʼ; WPah. paṅ. khūṛ ʻfootʼ. (CDIAL 3906). Rebus: khũṭ ‘community, guild’ (Santali)

6. Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ ‘fire-altar, furnace’ (Santali) kāṇḍa ’stone ore’.

7. meḍhi, miḍhī, meṇḍhī = a plait in a woman’s hair; a plaited or twisted strand of hair (P.) Rebus: meḍ ‘iron’ (Ho.)

8. ‘scarf’ glyph: dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Wpah.) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali)

9. Glyph 'friend': Assamese. xaï ʻfriendʼ, xaiyā ʻpartner in a gameʼ; Sinhala. saha ʻfriendʼ (< nom. sákhā or < sahāya -- ?). sákhi (nom. sg. sákhā) m. ʻfriendʼ RigVeda. 2. sakhī -- f. ʻwoman's confidanteʼ (Sanskrit), ʻa mistressʼ VarBrS. 1. Pali. sakhā nom. sg. m. ʻfriendʼ, Prakrit. sahi -- m.; Nepalese. saiyã̄ ʻlover, paramour, friendʼ (or < svāmín -- ); 2. Pali. sakhī -- , sakhikā -- f. ʻwoman's female friendʼ, Prakrit. sahī -- , °hiā -- f., Bengali. sai, Oriya. sahi, saï, Hindi. poet. saïyo f., Gujarati. saï f., Marathi. say, saī f. -- Ext. -- ḍ -- : OldMarwari. sahalaṛī f. ʻwoman's female friend’; -- -- r -- : Gujarati. sahiyar, saiyar f.; -- -- ll -- (cf. sakhila -- ): Sindhi. Lahnda. Punjabi. sahelī f. woman's female friendʼ, N. saheli, B. saylā, OAw. sahelī f.; H. sahelī f. ʻ id., maidservant, concubineʼ; OldMarwari. sahalī, sahelī ʻwoman's female friendʼ, OldGujarati. sahīlī f., Marathi. sahelī f. (CDIAL 13074). Apabhramśa. sāhi 'master'-- m.; Gypsy. pal. saúi ʻ owner, master ʼ, Sindhi. sã̄ī˜ m., Lahnda. sã̄i, mult. (as term of address) sāi; Punjabi. sāī˜, sāīyã̄ m. ʻmaster, husbandʼ; Nepalese. saiyã̄ ʻlover, paramour, friendʼ (or < sákhi -- ); Bengali. sã̄i ʻmasterʼ, (used by boys in play) cã̄i; Oriya. sāĩ ʻlord, king, deityʼ; Maithili. (ETirhut) saĩẽ ʻhusband (among lower classes)ʼ, (SBhagalpur) sã̄ĩ ʻhusband (as addressed by wife)ʼ; Bhojpuri. sāī˜ ʻGodʼ; OldAwadhi. sāīṁ m. ʻlord, master , lakh. sāī ʻsaintʼ; Hindi. sã̄ī m. ʻmaster, husband, God, religious mendicantʼ; Gujarti. sã̄ī m. ʻfaqirʼ, sã̄ ʻterm of respectful addressʼ; Marathi. sāī ʻtitle of respect, term of addressʼ; Sinhala. sāmi -- yā, hä° ʻhusbandʼ, himi -- yā ʻmaster, owner, husbandʼ (Perh. in Marathi. -- s affix to names of relationship (see śrī -- Add.). WPahari.poet. saĩ m. (obl. saĩ) ʻ friend, lover, paramour '. (CDIAL 13930). Rebus: 'association': Oriya. sāhi, sāi ʻ part of town inhabited by people of one caste or tribe '; sākhiya (metr.), sākhyá -- n. ʻ association, party ʼ RigVeda., ʻfriendshipʼ Mahāv. [sákhi] Pa. sakhya -- n. ʻ friendship ʼ (< sākhyá -- ? -- acc. sg. n. sakkhi and sakkhī -- f. from doublet sakhyaṁ ~ *sākhiya: cf. type sāmagrī -- ~ sāmagrya -- ) (CDIAL 13323). 10. Glyph: 'head-wrap': veṭha [fr. viṣṭ, veṣṭ] wrap, in sīsa˚ head-- wrap, turban M i.244; S iv.56. (Pali) Prakrit. veṭṭhaṇa -- n. ʻwrappingʼ, °aga -- n. ʻturbanʼ (CDIAL 12131). vēṣṭá m. ʻband, nooseʼ ʻenclosureʼ (Sanskrit), °aka- m. ʻfenceʼ, n. ʻturbanʼ lex. [√vēṣṭ] Marathi. veṭh, vẽṭh, veṭ, vẽṭ m.f. ʻroll, turn of a ropeʼ; Sinhala. veṭya ʻenclosureʼ; -- Pali. sīsa -- vēṭha -- m. ʻhead -- wrapʼ,vēṭhaka -- ʻsurroundingʼ; Prakrit. vēḍha -- m. ʻwrapʼ; Sindhi. veṛhu m. ʻencirclingʼ(CDIAL 12130). Rebus: 'territorial unit': veṭa , veṭha, veṇṭhe ‘a small territorial unit’ (Ka.IE8-4) (Pali) Assamese. Beran ʻact of surroundingʼ; Oriya. beṛhaṇa, °ṇi ʻgirth, circumference, fencing, small cloth worn by womanʼ. (CDIAL 12131). Pushto: باره bāraʿh, s.f. (3rd) ‘A fortification, defence, rampart, a ditch, palisade, an entrenchment, a breastwork’. Pl. يْ ey. (Pushto). Prakrit. vēḍha -- m. ʻwrapʼ; S. veṛhu m. ʻencirclingʼ; Lahnda. veṛh, vehṛ m. ʻfencing, enclosure in jungle with a hedge, (Ju.) blockadeʼ, veṛhā,vehṛā m. ʻcourtyard, (Ju.) enclosure containing many housesʼ; Punjabi. veṛhā, be° m. ʻenclosure, courtyardʼ; Kumaon. beṛo ʻcircle or band (of people)ʼ WesternPahari.kṭg. beṛɔ m. palaceʼ, Assamese. also berā ʻ fence, enclosure ʼ (CDIAL 12130). Hindi. beṛhnā ʻ to enclose, surround ʼ; Marathi. veḍhṇẽ ʻto twist, surroundʼ; (CDIAL 12132). kharoṣṭī 'blacksmith lip, carving' and harosheth 'smithy' kharoṣṭī the name of a script in ancient India from ca. 5th century BCE is a term cognate with harosheth hagoyim of the Old Bible. kharoṣṭī (khar + oṣṭa ‘blacksmith + lip’ or khar + uṣṭa – ‘blacksmith’ + ʻsettledʼ) is a syllabic writing system of the region where Indian hieroglyphs were used as evidenced by Indus Script corpora. The word –goy- in hagoyim is cognate with goy ‘gotra, clan’ (Prakrit). (Details in S. Kalyanaraman, 2012, Indian Hieroglyphs). gōtrá n. ʻ cowpen, enclosure ʼ RigVeda., ʻ family, clan ʼ1. Pali. gotta -- n. ʻ clan ʼ, Prakrit. gotta -- , gutta -- , amg. gōya -- n.(CDIAL 4279). http://tinyurl.com/79nm28f Etymology of harosheth is variously elucidated, while it is linked to 'chariot-making in a smithy of nations'. http://en.wikipedia.org/wiki/Harosheth_Haggoyim. Harosheth Hebrew: חרושת הגויים‎; is pronounced khar-o-sheth? Most likely, (haroshet) a noun meaning a carving. Hence, kharoṣṭī came to represent a 'carving, engraving' art, i.e. a writing system. Harosheth-hagoyim See: Haroshet [Carving]; a forest; agriculture; workmanship; harsha [Artifice: deviser: secret work]; workmanship; a wood http://tinyurl.com/d7be2qh Cognate with haroshet: karṣá m. ʻ dragging ʼ Pāṇ., ʻ agriculture ʼ Āp.(CDIAL 2905). karṣaṇa n. ʻ tugging, ploughing, hurting ʼ Manu (Sanskrit), ʻ cultivated land ʼ MBh. [kárṣati, √kr̥ṣ] Prakrit. karisaṇa -- n. ʻ pulling, ploughing ʼ; Gujarati. karsaṇ n. ʻ cultivation, ploughing ʼ; OldGujarati. karasaṇī m. ʻ cultivator ʼ, Gujarati. karasṇī m. -- See *kr̥ṣaṇa -- .(CDIAL 2907).

kulya n. ʻ receptacle for burnt bones of a corpse ʼ MBh., ʻ winnowing basket ʼ lex. [Prob. ← Drav.: see kulāˊya -- ]Pa. kulla -- m. ʻ raft of basket work, winnowing basket ʼ, °aka -- m. ʻ crate ʼ; Pk. kullaḍa -- n. ʻ packet ʼ; A. kulā ʻ winnowing fan, hood of a snake ʼ; B. kul, °lā ʻ winnowing basket or fan ʼ; Or.kulā ʻ winnowing fan ʼ, °lāi ʻ small do. ʼ; Si. kulla, st. kulu -- ʻ winnowing basket or fan ʼ.(CDIAL 3350) Rebus: kolle 'blacksmith' kol 'working in iron' kolhe 'smelters'

bĕniyã̄ ʻ fan for jeweller's fire ʼ (Bihari): VĪJ or VYAJ ʻ fan ʼ. [J. Bloch BSOS v 741 ← Drav., Tam. vīcu ʻ to fan ʼ, &c. DED 4479; but cf. √vic ʻ blow, winnow ʼ (see *vicyatē1) and √vij ʻ sudden motion ʼ (see *vijyatē) and Dhātup. √vij = √vic ʻ separate ʼ. Perh. vīj -- from IA. vic -- , vij -- , vyaj -- X Drav. vīc -- (J. C. W.)]vījana -- , vījyatē, vyajana -- .Addenda: *vīcya -- : WPah.kiũth. bice postp. ʻ in, between ʼ, kṭg. biċe ʻ in the middle ʼ, J. bīcā, bīcī. vījana n. ʻ fanning ʼ Kāv., ʻ fan ʼ Bhpr. 2. vyajana -- n. ʻ fan ʼ Mn. [√vīj]1. Pa. vījana -- n., °nī -- f. ʻ fan ʼ, Pk. vījaṇa -- , vīaṇa -- n., °ṇī -- f., viaṇa -- n., B. biuni, Mth. bian, °ni, Si. vidini -- ya; -- Pk. viṁjaṇa -- n. ʻ fan ʼ, S. viñiṇo m., °ṇī f., G. vī˜jṇɔ m.; M. vj˜j̈haṇ -- vārā m. ʻ air stirred by a fan ʼ, vĩj̈hṇā, vij̈hṇā m. ʻ fan ʼ. -- NIA. forms with -- j -- perh. rather derivatives of MIA. verb with vijj -- < vījyatē: B. bijani ʻ fan ʼ, H. bījnā m., G. vijṇɔ, vijhṇɔ m., M.vij̈ṇā m., vij̈hṇā m.2. Bi. bĕniyã̄ ʻ fan for jeweller's fire ʼ; OAw. H. benā m. ʻ fan ʼ.vījyatē ʻ is fanned ʼ MBh. [√vīj]Pa. vījiyati ʻ is fanned ʼ, Pk. vijjijjaï; G. vĩjvũ, vĩjhvũ ʻ to fan (a fire), whirl round in the air ʼ (nasalization and aspiration unexpl.); -- K. vizun, pp. vyuzu ʻ to winnow, sift ʼ (or, esp. in mng. ʻ sift ʼ, < *vijyatē).(CDIAL 12043, 12044) Ta. vīcu (vīci-) to throw, fling (as a weapon), cast (as a net), flap (as wings), swing (as the arm), fan, wave, flourish (as a sword), strike, beat, flog, open out, spread, lengthen, stretch, spill, strew, scatter, lay aside, throw off, abandon, drop, blow (as the wind), be spread, diffused (as fragrance, rays, etc.); vīccu throw, cast (as of a net), beat, flap (as of wings), blow, stroke, swinging, oscillation, length, quickness, rapidity; vīccam smell, effluvium; viciṟu (viciṟi-) to fan, wave to and fro, brandish, fling, hurl, cast (as a net), whirl round, pour forth, sprinkle, eject, discharge, remove, swing (as the arms in walking); viciṟi fan; vicukk-eṉal onom. expr. of quick movement; vicai (-pp-, -tt-) to hasten, cause to move swiftly, swing, leap, hop, burst, split, be forceful; n.haste, speed, impetus, elasticity, spring, force, contrivance as a trap, lever. Ma. vīcuka to fan, cast (nets); vīcci fan; vīccu throwing a net, a backstroke; vīyuka to fan, brandish, swing, wield, the wind to blow; vb.n. vīyal; vīyikka to cause to fan, etc.; vīśuka to fan, blow, throw (a net), emit (as scent or rays); vīśikka to get oneself fanned; vīśēṟi, (Tiyya) vīśāla, vīyāla fan; viśa spring-trap, snare for birds, lever; viśari fan; viśaṟu storm of rain; viśaṟuka to fan, flutter with wings. Ko. vi·c- (vi·c-) to exercise violence, throw violently, make a sweeping blow, grind with grinding stones, (wind) blows; vi·c violent blow; vec force, power, speed; ? vicm (obl. vict-) thunderbolt; ? ve·k- (ve·yk-) to winnow with a side-to-side motion to remove stones. To. pi·s- (pi·sy-) to swing (arm), grind (grain), cast responsibility of (person) on, forsake; pi·s a swing of the grinding stone. Ka. bīsu, bisu to swing, turn round, whirl, wave, brandish, fan, throw as a net, blow as the wind, mill, grind, cast (i.e. put bamboo rafters on a sloping roof); n. swinging, etc.; bīsisu to cause to turn round, mill, etc.; bīsaṇige, bīsaṇike fan; bĭ̄sāḍu to swing and let go from the hand, fling, throw away; bisāḍuvike throwing away; bisuṭu, bisuḍu, bisur, bisur̤ to throw, cast or fling away madly, furiously, carelessly, heedlessly, hurl, leave abruptly; bese a swinge, stroke with a whip, etc., a blow, bow for dressing cotton; (Hav.) bīsāle fan (as the one made of areca spathe). Koḍ. bi·j- (bi·ji-), (Mercara dialect) bi·d- (bi·di-) to wave (tr.); (wind) blows, (tree, cloth) waves; grind with grinding stones. Tu. bījuni to swing, blow as the wind; bījāṭa waving, swinging, fanning, brandishing; bījāḍuni, bījāvuni to brandish, fan, wave, swing out, fling; bīpuni to cast a net, throw, sling as a stone, throw up earth, wave the hand, wash and clean rice, blow as wind; bīpu casting, throwing, blowing of wind; bīsuni to fan, grind, wave, swing, cast, blow, wave; bīsa quickly, rapidly, fast, straightly; bīsaṇigè, bīsanigè fan. Kor. (T.) bī- to grind. Te. vīcu to blow as the wind; wave (tr.), (K. also) fling, throw with a sweep, fan; vī-tencu to blow as the wind; vīcōpu chowrie; vīvana fan, whisk; vīvali wind; visana-kaṟṟa fan; visaru, visuru to throw, fling, cast, hurl, wave, swing, shake, flourish, brandish, whisk, turn as a mill, grind as in a mill, blow as the wind, spread as scent; n. waving, throwing, blowing, spreading; vesa quickness; vesa(n), (K.) vē quickly; ? bisa a spring, a catch; bisabisa
quickness; bisi tension, elasticity.Go. (Tr.) winjānā, (Ch.) vinj- to pull with a jerk (Voc.3240); (W. Ph.) vīskānā to drag, pull (Voc. 3273). Konḍa visir (-t-) to throw off or away, fling; (BB) vīvani a fan. Kui vīnja (vīnji-) to blow, fan; pl. action vīska (vīski-); vīka (vīki-) to blow a wind instrument; vīva (vīt-) to shoot, throw, cast, fling, pelt; n. act of shooting, throwing; pl. action vīpka (vīpki-); viska swift, quick. ? Kur. bīxrnā to make the gesture of commencing a certain action, being at the same time within convenient distance for performing it, take one's aim for. ? Malt. béṉg̣re to lift the arm preparatory to a blow. / Cf. Skt. vīj-, vyaj- to fan; vījana-, vyajana- fanning, a fan; Turner, CDIAL, no. 12043; Mayrhofer, s.v. vyajanam.(DEDR 5450)

vyáñjana n. ʻ decoration ʼ RV., ʻ sign ʼ ĀpŚr. 2. viyáñjana -- (metr.). [√añj]1. Pk. vaṁjaṇa -- n. ʻ mark ʼ.2. Pa. vyañjana -- n. ʻ mark ʼ, Pk. viaṁjaṇa -- n.; Si. viyadun ʻ distinctive mark ʼ.(CDIAL 12160)

Metath. viciri - civiri: Ta. civiṟi a fan. Ka. sīguri, (K.2) sīguḍi a kind of chowrie. Te. sīviri a chowrie. Kui jiperi a fan.(DEDR 2580)

spinner, susa, ancient susa, woman spinnning,

The Spinner, Louvre Museum / department of Near East antiquities.

A fragment of a relief 'The spinner' made of Bitumen mastic of Neo-Elamite period (8th cent. BCE - middle of 6th cent. BCE) was found in Susa. This fragment displayed a well-coiffured woman being fanned by an attendant while the woman wearing bangles on both arms -- seated on a stool with feline legs -- held what may be a spinning device before a table with feline legs with a bowl containing a whole fish with six blobs assembled on top of the fish.

Hieroglyphs: curls on hair, fan, feline-legged stools, six round objects, fish, arms with bangles, headband, hair-knot, spindle, circles on scarf.

Hieroroglyph: aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)
kola 'tiger' Rebus: kolle 'blacksmith' kol 'working in iron'; kolhe 'smelter' kole.l 'smithy, temple'; kolimi 'smithy, forge' Hieroglyph: bhaṭa 'six' Rebus: bhaṭa 'furnace'.

2861 karttr̥2 m. ʻ spinner ʼ MBh. [√kr̥t2]H. kātī f. ʻ woman who spins thread ʼ; -- Or. kãtiā ʻ spinner ʼ with ã from verb kã̄tibā (CDIAL 2861) See: khātrī m. ʻ member of a caste of Hindu weavers ʼ.(Gujarati)(CDIAL 3647) kātī 'spinner' Rebus: khātī m. ʻ member of a caste of wheelwrights ʼ(Hindi) kṣattŕ̊ m. ʻ carver, distributor ʼ RV., ʻ attendant, door- keeper ʼ AV., ʻ charioteer ʼ VS., ʻ son of a female slave ʼ lex. [√kṣad]Pa. khattar -- m. ʻ attendant, charioteer ʼ (CDIAL 3647)

Note on the spinner in the Louvre

Technical description
Bas-relief fragment, called "The Spinner"
Bitumen
J. de Morgan excavations
Sb 2834
Near Eastern Antiquities
Sully wing
Ground floor
Iran in the Iron Age (14th–mid-6th century BC) and during the Neo-Elamite dynasties
Room 11

Display case 6 b: Susiana in the Neo-Elamite period (8th centurymiddle 6th century BC). Goldwork, sculpture, and glyptics

This votive or commemorative relief shows a woman squatting on a stool holding a spindle. Behind her, a servant cools her with a fan; before her stands a pedestal table laden with food. Another figure formerly stood facing her. This figure of a spinner is one of the rare images of a woman in her personal domestic environment in the ancient Orient.

The image of women in the ancient Orient

Women appear in many ancient Oriental texts, always in the background of a predominant male figure. With the exception of goddesses, they feature more rarely in images pertaining to fertility. In this domestic scene, the woman is seated in an informal manner, with one leg folded under her. With her arms full of bracelets, she turns the spindle: the flower-shaped tip is visible above her left hand, and the thread accumulates below the conical spinning whorl serving as a pulley. No skein is visible, perhaps because the scene may not represent the act of spinning so much as the spinner's satisfied presentation of her work to an important figure who is just visible on the other side of the table. She is dressed in a sleeveless tunic; her decorated veil, which does not cover her head - probably because she is an intimate setting - reveals her long hair, pulled back in a bun and held in place with a headscarf crossed around her head. Her face is calm but smiling, her body plump and stocky.

A royal interior

Behind the spinner stands a figure, as large as the seated figure, either because it is a child, or rather because the artist is indicating a social hierarchy. The standing figure has large round curls, wears a short-sleeved tunic and jewelry on his or her wrists, and is shown fanning the spinner with a square fan on a long handle, whose parallel grooves suggest wickework. The spinner's stool is covered with a fabric whose fringed edges hide the upper part of the seat; an ornament protruding at the back, probably an animal's head, remains visible. The feet, joined together by a triple brace, are sculpted in the shape of thick lion claws. This decoration is also visible on the table, a low pedestal table with a thick top resting on molded capitals. This highly ornate style of furniture resembles that depicted on certain Assyrian stone reliefs, at Khorsabad (Louvre), and on the "Banquet under the Arbor" relief from Nineveh (British Museum), featuring a similar scene. Excavations at Ugarit, Nimrud and Arslan Tash (Louvre) produced similar ornamentations in ivory. In the ancient Orient, only gods and sovereigns received such furnishings, a privilege reflected in the inventories of royal trousseaux and lists of booty drawn up by Assyrian scribes. Ordinary people ate and slept on the floor. This scene therefore probably takes place in the divine world or in the palace at Susa, at the court of a Neo-Elamite sovereign, perhaps the figure on the right now completely lost.

A Susian material

The material used to sculpt this relief is highly characteristic of Susa: a bituminous stone, a matte, black sedimentary rock. Deposits of bitumen, a thick hydrocarbon, are relatively numerous in Mesopotamia and in western Iran, an area of abundant oil resources, but the bituminous stone deposit in the Susa region seems to have been unique and the Susians were the only ones to use it from the 4th millennium. The fine grain of the stone permitted a high level of precision in the details. If heated slightly, the stone could be coated with gold or silver leaf or receive incrustatations of various materials, for the making of luxury objects typical of Susa.

Bibliography

Amiet Pierre, Elam, Auvers-sur-Oise, Archée, 1966, p. 413.
Amiet Pierre, Suse : 6000 ans d'histoire, Éditions de la Réunion des Musées nationaux, coll. "monographies des Musées de France", 1988, p. 112, fig. 69.
The Royal City of Susa. Ancient Near Eastern Treasures in the Louvre, catalogue de l'exposition, The Metropolitan Museum of Art, New York, 1992, pp. 200-201, cat. n 141.
Connan Jacques , Deschesne Odile, Le bitume à Suse : collection du Musée du Louvre, Éditions de la Réunion des Musées nationaux, Elf Aquitaine Production, 1996, p. 227, fig. 34 ; pp. 339-340, cat. n 431.
Herrmann Georgina (éd.), Furniture in Ancient Orient, Mainz, Philipp von Zabern.
Roaf Mickhaël, Atlas de la Mésopotamie et du Proche Orient antique, Brepols, 1991, p. 130.

http://www.louvre.fr/en/oeuvre-notices/spinner

Resources to delineate Meluhha (Mleccha) language of ca. 4th millennium BCE

Delineating Meluhha (Mleccha) language of ca. 4^th millennium BCE, a date which produced evidence of the earliest writing on a Harappa potsherd is a philological challenge. Attempts can be made to respond to this challenge using a variety of textual resources available, apart from using the Indus Writing corpora as a frame of reference to validate the Meluhha (Mleccha) words. This note discusses some resources provided by studies related to ancient Indian languages which contributed to the Indian sprachbund.

See: http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-evidence-for-mleccha.html Ancient Near East evidence for meluhha language and bronze-age metalware

Ancient arts related to communicating ideas

Vātsyāyana’s Kāmasūtra refers to a cipher called mlecchita vikalpa (alternative representation in writing of mleccha (Meluhha) language) as one of the 64 arts to be learnt by youth. Vātsyāyana also uses the phrase deśabhāṣā jñānam referring to the learning of vernacular languages and dialects. deśabhāṣā is also variously referred to as deśī or deśya. He also uses the phrase akṣara muṣṭikā kathanam as another of the 64 arts. This is a reference to karaṇa or karaṇīmentioned in Bharata’s Nāṭyaśāstra as gesticulation or articulation in dance using positions of finger-knuckles and wrists to convey messages or bhāvá‘thought or disposition’. akṣara muṣṭikā is explained by Monier-Williams (p. 3) as: ‘the art of communicating syllables or ideas by the fingers (one of the 64 kalās, Vātsyāyana)’.

करण the occupation of this class is writing , accounts (Monier-Williams, p. 254) n. (in law) an instrument , document , bond Mn. viii , 51 ; 52 ; 154. m. writer , scribe. n. the special business of any tribe or caste

करणी f. a particular position of the fingers (Monier-Williams, p. 254) n. pronunciation , articulation , APrāt.करण n. the act of making , doing , producing , effecting S3Br. MBh. &c (very often ifc. e.g. मुष्टि-क्° , विरूप-क्°) Pori ‘the joints of a bamboo, a cane, or the fingers’ (Maltese)(DEDR 4541). Pkt. pora- joint (CDIAL 8406).

Meluhha is cognate mleccha. Mleccha were island-dwellers (attested in Mahabharata and other ancientIndian sprachbund texts). Their speech did not conform to the rules of grammar (mlecchāḥ mā bhūma iti adhyeyam vyākaraṇam) and had dialectical variants or unrefined sounds in words (mlecchitavai na apabhāṣitavai) (Patanjali: Mahābhāṣya).

One resource for reconstruction of mleccha is a work which dealt with Prākṛit forms. The work is Simharaja, 1909, Prākṛit i Rupavatara -- A Prākṛit grammar based on the Valmikisutra, Vol. I, Ed. by E. Hultzsch, Albermarle St., Royal Asiatic Society. Full text at: http://ia700202.us.archive.org/23/items/Prākṛit arupavata00simhuoft/Prākṛit arupavata00simhuoft.pdf

Prākṛitarūpāvatāra literally means ‘the descent of Prākṛit forms’. Pischel noted: “…the Prākṛitarūpāvatāra is not unimportant for the knowledge of the declension and conjugation, chiefly because Simharāja frequently quotes more forms than Hēmachandra and Trivikrama. No doubt many of these forms are theoretically inferred; but they are formed strictly according to the rules and are not without interest.” (Pischel, 1900, Grammatik der Prākṛit-Sprachen, Strassburg, p.43). Pischel also had written a book titled, Hēmachandra's Prākṛit grammar, Halle, 1877. The full text of the Vālmīkisūtra, with gaṇas, dēśīyas, and iṣṭis, has been printed in Telugu characters at Mysore in 1886 as an appendix to the ṣaḍbhāṣachandrikā.

A format to determine the structure of Prākṛit is to identify words which are identical with Sanskrit words or can be derived from Sanskrit. In this process, dēśīyas or dēśyas, ‘provincialisms’ are excluded. One part of the work of Simharja is samjñāvibhāga ‘technical terms’. Another is pari bhāṣāvibhāga ‘explanatory rules’. Dialects are identified in a part called śaurasēnyādivibhāga; the dialects include: śaurasēni, māgadhī, paiśācī, chūḷikā paiśācī, apabhramśa.

Additional rules are identified beyond those employed by Pāṇini:

sus, nominative; as, accusative; ṭās, instrumental; nēs, dative; nam, genitive; nip, locative.

Other resources available for delineation of mleccha are: The Prākṛita-prakāśa; or the Prākṛit grammar of Vararuchi. With the commentary Manorama of Bhamaha. The first complete ed. of the original text... With notes, an English translation and index of Prākṛit words; to which is prefixed a short introd. to Prākṛit grammar (Ed. Cowell, Edward Byles,1868, London, Trubner)

On these lines, and using the methods used for delineating Ardhamāgadhi language, by Prākṛita grammarians, and in a process of extrapolation of such possible morphemic changes into the past, an attempt may be made to hypothesize morphemic or phonetic variants of mleccha words as they might have been, in various periods from ca. 4^th millennium BCE. There are also grammars of languages such as Marathi (William Carey), Braj bhāṣā grammar (James Robert), Sindhi, Hindi, Tamil (Tolkāppiyam) and Gujarati which can be used as supplementary references, together with the classic Hemacandra's Dēsīnāmamālā, Prākṛit Grammar of Hemachandra edited by P. L. Vaidya (BORI, Pune), Vararuchi's works and Richard Pischel's Comparative Grammar of Prākṛit Languages.(Repr. Motilal Banarsidass, 1957). Colin P. Masica's Indo-Aryan Languages, Cambridge University Press, 1993,"... has provided a fundamental, comparative introduction that will interest not only general and theoretical linguists but also students of one or more languages (Hindi, Urdu, Bengali, Punjabi, Gujurati, Marathi, Sinhalese, etc.) who want to acquaint themselves with the broader linguistic context. Generally synchronic in approach, concentrating on the phonology, morphology and syntax of the modern representatives of the group, the volume also covers their historical development, writing systems, and aspects of sociolinguistics."Thomas Oberlies' Pali grammar (Walter de Gruyter, 2001) presents a full description of Pali, the language used in the Theravada Buddhist canon, which is still alive in Ceylon and South-East Asia. The development of its phonological and morphological systems is traced in detail from Old Indic (including mleccha?). Comprehensive references to comparable features and phenomena from other Middle Indic languages mean that this grammar can also be used to study the literature of Jainism. Madhukar Anant Mehendale's Historical Grammar of Inscriptional Prākṛit s is a useful aid to delineate changes in morphemes over time. A good introduction is: Alfred C. Woolner's Introduction to Prākṛit , 1928 (Motilal Banarsidass). "Introduction to Prākṛit provides the reader with a guide for the more attentive and scholarly study of Prākṛit occurring in Sanskrit plays, poetry and prose--both literary and inscriptional. It presents a general view of the subject with special stress on Sauraseni and Maharastri Prākṛit system. The book is divided into two parts. Part I consists of I-XI Chapters which deal with the three periods of Indo-Aryan speech, the three stages of the Middle Period, the literary and spoken Prākṛit s, their classification and characteristics, their system of Single and Compound Consonants, Vowels, Sandhi, Declension, Conjugation and their history of literature. Part II consists of a number of extracts from Sanskrit and Prākṛit literature which illustrate different types of Prākṛit --Sauraseni, Maharastri, Magadhi, Ardhamagadhi, Avanti, Apabhramsa, etc., most of which are translated into English. The book contains valuable information on the Phonetics and Grammar of the Dramatic Prākṛit s--Sauraseni and Maharastri. It is documented with an Index as well as a Students'. "

It may be noted that Hemacandra is a resource which has provided the sememe ibbo 'merchant' which reads rebus with ibha 'elephant' hieroglyph.

Sir George A. Grierson's article on The Prākṛit Vibhasas cites: "Pischel, in §§3, 4, and 5 of his Prākṛit Grammar, refers very briefly to the Vibhāṣās of the Prākṛit grammarians. In § 3 he quotes Mārkaṇḍēya's (Intr., 4) division of the Prākṛit s into Bhāṣā, Vibhāṣā, Apabhraṁśa, and Paiśāca, his division of the Vibhāṣās into Śākārī, Cāṇḍālī, Śābarī, Ābhīrikā, and Ṭākkī (not Śākkī, as written by Pischel), and his rejection of Auḍhrī (Pischel, Oḍrī) and Drāviḍī. In § 4 he says, “Rāmatarkavāgīśa observes that the vibhāṣāḥcannot be called Apabhraṁśa, if they are used in dramatic works and the like.” He repeats the latter statement in § 5, and this is all that he says on the subject. Nowhere does he say what the term vibhāṣā means. The present paper is an attempt to supply this deficiency." See also: http://www.indianetzone.com/39/Prākṛit _language.htm

"...Ganga, on the lower reaches of which were the kingdoms of Anga, Variga, and Kalinga, regarded in the Mahabharata as Mleccha. Now the non- Aryan people that today live closest to the territory formerly occupied by these ancient kingdoms are Tibeto-Burmans of the Baric branch. One of the languages of that branch is called Mech, a term given to them by their Hindu neighbors. The Mech live partly in Bengal and partly in Assam. B(runo) Lieblich remarked the resemblance between Mleccha and Mech and that Skr. Mleccha normally became Prākṛit Meccha or Mecha and that the last form is actually found in Sauraseni. 1 Sten Konow thought Mech probably a corruption of Mleccha.* I do not believe that the people of the ancient kingdoms of Anga, Vanga, and Kalinga were precisely of the same stock as the modern Mech, but rather that they and the modern Mech spoke languages of the Baric division of Sino-Tibetan. " (Robert Shafer, 1954, Ethnography of Ancient India, Otto Harras Sowitz, Wiesbaden).http://archive.org/stream/ethnographyofanc033514mbp/ethnographyofanc033514mbp_djvu.txt

The following note is based on: Source: MK Dhavalikar, 1997, Meluhha, the land of copper, South Asian Studies, 13:1, 275-279 (embedded document appended):

Citing a cuneiform tablet inscription of Sargon of Akkad (2370-2316 BCE), Dhavalikar notes that the boats of Dilmun, Magan and Meluhha were moored at the quay in his capital (Leemans, WF, 1960, Foreign Trade in the Old Babylonian Period as revealed by texts from Southern Mesopotamia, EJ Brill, Leiden, p. 11). The goods imported include agate, carnelian, shell, ivory, varieties of wood and copper. Dhavalikar cites a reference to the people or ‘sons’ of Meluhha who had undergone a process of acculturation into Mesopotamian society of Ur III times cf. Parpola, S., A. Parpola and RH Brunswwig, Jr., 1977, The Meluhha Village: evidence of acculturation of Harappan traders in the late Third Millennium Mesopotamia, JESHO, 20 , p.152. Oppenheim describes Meluhha as the land of seafarers. (Oppenheim, AL, 1954, The seafaring merchants of Ur, JAOS, 74: 6-17). Dhavalikar notes the name given to a rāga of classical Indian (Hindustani) music – maluha kedār – which may indicate maluha as a geographical connotation as in the name of another rāga called Gujarī Todi. Noting a pronunciation variant for meluhha, melukkha, the form is noted as closer to Prākṛit milakkhu (Jaina Sūtras, SBE XLV, p. 414, n.) cognate Pali malikkho or malikkhako (Childer’s Pali Dictionary). Prākṛit milakkhu or Pali malikkho are cognate with the Sanskrit word mleccha (References cited include Mahabharata, Patanjali). Jayaswal (Jayaswal, KP, 1914, On the origin of Mlechcha, ZDMG, 68: pp. 719-720) takes the Sanskrit representation to be cognate with Semitic melekh (Hebrew) meaning ‘king’.

Śathapatha Brāhmaṇa [3.2.1(24)], a Vedic text (ca. 8^th century BCE) uses the word mleccha as a noun referring to Asuras who ill-pronounce or speak an imprecise language: tatraitāmapi vācamūduḥ | upajijñāsyāṃ sa mlecastasmānna brāhmaṇo mlecedasuryāhaiṣā vā natevaiṣa dviṣatāṃ sapatnānāmādatte vācaṃ te 'syāttavacasaḥ parābhavanti ya evametadveda. This is a remarkable reference to mleccha (meluhha) as a language in the ancient Indian tradition. Pali texts Digha Nikāya and Vinaya, also denotes milakkha as a language (milakkha bhāsā). Comparable to the reference in Manu, a Jaina text (Pannavana, 1.37) also described two groups of speakers (people?): ārya and milakkhu. Pāṇini also observes the imprecise nature of mleccha language by using the terms: avyaktayam vāci (X, 1663) and mleccha avyakte śabde (1.205). This is echoed in Patanjali’s reference to apaśabda.

Dhavalikar notes: “Sengupta (1971) has made out a strong case for identifying mlecchas with the Phoenicians. He proposes to derive the word mleccha from Moloch or Molech and relates it to Melek or Melqart which was the god of the Phoenicians. But the Phoenicians flourished in the latter half of the second and the first half of the first millennium when the Harappan civilization was a thing of the past.” (: MK Dhavalikar, 1997, Meluhha, the land of copper, South Asian Studies, 13:1, p. 276).

Worterbuch (St. Petersburg Dictionary), Hemacandra’s Abhidāna Cintāmaṇi (IV.105), lexicons of Monier Williams and Apte give ‘copper’ as one of the meanings of the lexeme mleccha.

Gudea (ca. 2200 BCE) under the Lagash dynasty brought usu wood and gold dust and carnelian from Meluhha. Ibbi-Sin (2029-2006 BCE) under the third dynasty of Ur “imported from Meluhha copper, wood used for making chairs and dagger sheaths, mesu wood, and the multi-coloured birds of ivory.”

Dhavalikar argues for the identification of Gujarat with Meluhha (interpreted as a region and as copper ore of Gujarat) and makes a reference to Viṣṇu Purāṇa (IV,24) which refers to Gujarat as mleccha country.

Nicholas Kazanas has demonstrated that Avestan (OldIranian) is much later than Vedic. "'Vedic and Avestan' by N. Kazanas In this essay the author examines independent linguistic evidence, often provided by iranianists like R. Beekes, and arrives at the conclusion that the Avesta, even its older parts (the gaθas), is much later than the Rigveda. Also, of course, that Vedic is more archaic than Avestan and that it was not the Indoaryans who moved away from the common Indo-Iranian habitat into the Region of the Seven Rivers, but the Iranians broke off and eventually settled and spread in ancientv Iran." http://www.omilosmeleton.gr/pdf/en/indology/Vedic_and_Avestan.pdf

The oldest Prākṛit lexicon is the work of a Jaina scholar, Paiyalacchi nāmamālā of Dhanapāla (972 A. D.)

Mahapurana of Pushpadanta–A critical study: By Dr Smt. Ratna Nagesha Shriyan. L. D. Bharatiya Samskriti Vidyamandira, Ahmadabad–9 . Price: Rs. 30.

A thesis approved for the degree of Doctorate of Philosophy by the Bombay University, this is a critical study of the Desya and rare material contained in the three Apabhramsa works of Pushpadanta, a major Apabhramsa poet of the Ninth Century CE D.

The first part mainly deals with the nature and character of Desya element and the role of Desya element in Prākṛit and Apabhramsa in general and Pushpadanta’s works in particular. The authoress pointed out that the term Deśī has been used in the earlier Sanskrit and Prākṛit literature mainly in three different senses, viz., (1) a local spoken dialect (2) a type of Prākṛit , (3) and as equivalent to Apabhramsa. The interpretations of the word Deśī as given by Hemachandra and modern scholars are also given in detail. The authoress comes to the conclusion that most of the modern scholars agree that “Desya or Deśī is a very loose label applied by early grammarians and lexicographers to a section of Middle Indo-Aryan lexical material of a heterogeneous character.

In part II, the more important one, the learned Doctor has collected 1430 words and divided them into seven categories– (1) items only derivable from Samskrit (2) Tadbhavas with specialized or changed meaning (3) items partly derivable from Samskrit (4) items that have correspondents only in late Samskrit (5) onometopoetic words (6) foreign loans and (7) pure Deśī words. Critical and comparative notes on their meanings and interpretations, with corroborating passages from original texts are also given here and they evidence the high scholarly labours of the authoress. We cannot, but respect the words of Dr H. C. Bhayani of the Gujarat University in whose opinion the present study paves “the way for investigating the bases and authenticity of Hemachandra’s Deśīnāmamālā and provides highly valuable material for middle and Modern Indo-Aryan lexicography.”

http://yabaluri.org/TRIVENI/CDWEB/reviewsoct74.htm

“Words which are not derived from Sanskrit in his grammar, which though derived from Sanskrit, are not found in that sense in the Sanskrit lexicons, which have changed their meaning in Prākṛit , the change not being due to the secondary or metaphorical use of words, and which are used in standard Prākṛit from times immemorial, are considered as deśī by Hemacandra (I,3,4). Thus, he teaches in his grammar (IV,2) that pajjar is one of the substitutes of the root kath in Prākṛit . In II,136 he says that trasta assumes the forms hittha and taTTha in Prākṛit . The words pajjara, hittha and taTTha are not, therefore, des’yas and are excluded from the work. The Verbal substitutes have been, as a matter of fact, considered as deśī words by Hemacandra’s predecessors (1.11,13,20). Again the word amayaNiggamo signifies the moon in Prākṛit , and it is evidently a bhava of amrutanirgama which by some such analysis as amrutaanirgamo yasya can denote the moon But the Sanskrit word is not found in that sense in any of the lexicons and hence amayaNiggamo is reckoned as a deśya and taught in this work. The word yayillo is a regular derivative of baliivarda according to rules of Prākṛit grammar, and as the latter word can by the force of lakshaNa mean a ‘fool’, the word vayillo in this sense is not considered a deśī word and, therefore, is not included in this work. Every provincial expression is not considered a deśī word, but only those which have found entrance into the known Prākṛit literature. Otherwise, the number of deśī words will be innumerable and it will be impossible to teach them all. As Hemacandra himself says (I,4): vacaspaterapi matirna prabhavati divyayugasahasreNa. This definition of a deśī word does not appear to have been followed by the predecessors of Hemacandra; and therein consists, he says, the superiority of his work over that of others. He quotes in a number of places words which have been taught as deśī words by his predecessors and shows that they are derived from Sanskrit words. Thus in I.37 Hemacandra says that the words acchoDaNam, alinjaramk, amilaayam and acchabhallo are considered as deśī words by some authors, but he does not do so as they are evidently derived from Sanskrit words. Again in II.89, he says that the word gamgarii is taught a a deśī word by some authors but Hemacandra says this is not a deśī word as it is derived from Sanskrit gargarii. But here our author shows some latitude and says that it may be considered a deśī word. Many such instances may be quoted and in most cases Hemacandra gives the Sanskrit equivalents to such words.” (Paravastu Venkata Ramanujaswami, in: Introduction, The Deśīnāmamālā of Hemachandra ed. By R. Pischel, 1938, 2^nd edn., Dept. of Public Instruction, Bombay, pp.3-4).

TABLE : DICTIONARIES

PRĀKṛIT :

10 C.E : Deshi Nama Mala (Hemachandra)

11 C.E

ayyalacchi Nama Mala (Maha Kavi Dhanapala)

12 C.E :Abhidana Rajendra (Vijayendra Suri)

SANSKRIT

4 C.E : Amarakosha (Amarasimha) Dhanvantari Nighantu (Dhanvantari)

6 C.E : Anekartha Samucchaya (Shashaavata)

10 C.E : Abhidana Ratna Mala (Hemachandra ),Srikanda Shesha Vishvakosha (Srikanda Shesha),HaravaLi (Purushottama Deva) ,Abhidana Ratnamala (Halayudha)

11 C.E :Vyjayanti (Yadava Prakasha), Nama Mala (Dhananjaya) , Anekartha Nama Mala (Amara Keerti) , Shabdha Pradipa (Sureshvara)

12 C.E :Namarthaarnava Sankshepa , Shabda Kalpa Druma (Keshava Svamin ), Vishva Prakasha (Maheshvara) , Namartha Ratnamala (Abhaya Pala) , Abidana Cintamani +Anekartha Sangraha (Hemachandra) , Anekartha Kosha (Mankha) , Akyata Candrika (Malla Bhatta) , Raja Nighantu (Narahari)

14 C.E : Nanartha Ratna Mala (Irugappa Dandanatha) , Madana Vinoda Nighantu (Madana Pala)

15 C.E : Shabda Chandrike ( Vamana Bhatta) , Shabda Ratnakara(Bana)

16 C.E :Sundara Prakashabdarnava (Padma Sundara)

17 C.E :Kalpa Druma (Keshava Daivajna), Nama Sangraha Mala(Appaiah Dikshita)

TAMIL :

10 C.E – Sendan Divakaram (Divakaram) , Pingalantai (Pingalar)

12 C.E : Chudamani Nighantu (Mangala Puttiran)

16 C.E : Chudamani Nighantu ( Mandala Purutan) ,Akaradi Nighantu (Chidambara Revana)

17 C.E : Uriccol Nighantu (Gangeyan) , Kayataram (Kayatarar) ,Bharati Deepam (Anonymus) , Ashiriya Nighantu (Anonymus)

18 C.E : Pothigai Nighantu (Swaminatha Kavirayar), Pal Porul Chudamani (Eshwara Bharati) , Arumpporul Vilakka Nighantu (Anonymus)

KANNADA

10 C.E : Ranna Kanda (Ranna)

11 C.E : Abhidana Vastu Kosha (Nagavarma-2) ,Abhidana Ratna Mala+Amarakosha Bhashya (Halayudha)

12 C.E :Nachirajiya (Naciraja)

13 C.E : Akaradi Vaidya Nighantu+Indra Dipike+Madanari (Amrutanandi)

14 C.E: Karnataka Shbda Sara (Anonymus) , Karnataka Nighantu (Anonymus), Abhinavabhidana (Abhinava Mangaraja)

15 C.E : Chaturasya Nighantu(Bommarasa) , Dhanvantariya Nighantu (Anonymus)

16 C.E : Kabbigara Kaipidi (Linga Mantri) , Shabda Ratnakara (Anonumus) , Nanartha Kanda (Chenna Kavi) , Nanartha Ratnakara+Ekakshara Nighantu (Devottama) , Karnataka Shabda Manjari (Totadarya) , Bharata Nighantu (Anonymus) , Amarakosha Dipike (Vitthala)

17 C.E : Karnataka Sanjivini +Kavi Kanthahara (Shrungara Kavi) , Karnataka Nighantu (Surya kavi)

TELUGU :

14-18 C.E : Venkateshandhramu (Ganavarapu Venkatakavi) , Akaradi Deshiyandhra Nighantu ( Anonymus), Andhra Prayoga Ratnakaram (Anonymus) , Sarva Lakshana Shiromani (Anonymus) ,Padya Rupa Amara Kosham ( Venkata Rayudu), Andhra Nama Sangraham (Lakshmana Kavi) , Andhra Nama Vishesham (Sura Kavi) Samba Nighantuvu (Kasturi Ranga) , Andhra Bhasharnavam ( Venkata Narayanudu) , Akshara Malika Nighantu (Parvatishvara Shastry) , Andhra Pada Nidanam (Tumu Ramadasa) , Sarnadhra Sara sangraham (Amrutapuram Sanyasi),Nanartha Nighantu (Jayarama Rayulu)

TABLE 2 : GRAMMERS

PRĀKṛIT :

5-7 C.E : Prakruta Prakasha (Vararuchi) , Prakruta Lakshana (Chanda) , Prakruta Kamadhenu (Anonymus)

12 C.E : Prakrutanushasana (Purushottama) , Siddha Hema Shabdanushasana (Hemachandra)

14 C.E : Prkruta Shabdanushasdana (Trivikrama) , Shdbhasha Chandrika (Lakshmidhara)

17 C.E : Prakruta Sarvasva (Markandeya)

SANSKRIT

4-2 B.C.E : Ashtadhyayi (Panini) , Mahabhashya-Commentary on Ashtadhyayi (Patanjali)

2 C.E : Katantra Vyakarana (Shrvavarman)

6 C.E : Mahabhashya Dipika-Commentary on Mahabhashya (Bhatruhari ), Kashika Vrutti- Commentary on Ashtadhyayi (Vamana)

7 C.E : Ashtadhyayi-Commentary (Jayaditya)

8 C.E : Kashika Vivarana Pancika –Commentary on Kashika Vrutti (Jinendra Buddivada)

9 C.E : Pada Manjari – Commentary on Kashika Vrutti (Haradatta)

11 C.E : Pradipa ( Kaiyata) , Bhasha Vrutti -Commentary on Ashtadhyayi (Purushottama Deva)

13 C.E ; Rupavatara (Dharma Keerti)

14 C.E : Mitakshara- Commentary on Ashtadhyayi (AnnaM Bhatta) , Rupamala (Vimala Sarsvati)

15 C.E : Prakriya Kaumudi (Ramachandra Shesha)

16 C.E : Shabda kaustubha (Bhattoji Dikshita) , Prakriya Sarvasva (Nayarana Bhatta)

17 C.E : Pradipodyota (Nagesha Bhatta)

TAMIL :

-3 to 10 C.E : Tolkappiam (Tolkappiyanar)

11 C.E : Viracholiyam (Buddha Mitra)

12 C.E : Neminatham (Gunaveera pandita) , Tolkappiam- Poruladigaram Commentary (Perashiyar)

13 C.E : Nannul (Bhavanadi) , Tolkappiam- Solladigaram Commentary (Senavaraiyar)

14 C.E : Tolkappiam-Commentary (Naccinarkkiniyar)

16 C.E : Tolkappiam- Solladigaram Commentary (Teyvacilaiyar , Kalladanar)

17 C.E : Tolkappiam- Solladigaram Commentary (Anonymus)

KANNADA

11 C.E : Kavyavalokana (Nagavarma)

13 C.E : Shabdamani Darpana ( Keshiraja) , Shabdanushasanam (Akalanka Deva)

17 C.E : Shabdamani Darpana-Commentary (Nitturu Nanjayya)

17 C.E : Shabdamani Darpana-Commentary (Anonymus)

TELUGU :

13 C.E : Andhra Bhasha Bhushanam (Mulaghatika Ketana)

14 C.E : Kavyalankara Chidamani (Vinnakota Peddana)

Part-6:

TABLE 3 : POETICS/PROSODY/RHETORIC

SANSKRIT :

5 C.E : Bruhatsamhita (Varahamihira)

6 C.E : Kavyalankara (Bamaha) , Kavyadarsha (Dandin)

9 C.E : Kavyalankara Sara Sangraha (Uddata) , Kavyalankara Sutravrutti (Vamana) , Kavyalankara (Rudrata), Dhvanyaloka (Anandavarhana)

10 C.E : Cahmdraloka (Jayadeva)

11 C.E : Chandonushasana (Jayakirti), Kavyamimamse (Rajashekhara) , Abhidaavrutti Maatruke (Mukula Bhatta) , Kavyakautuka (Bhatta Tauta) , Hrudaya Drapana (Bhatta Nayaka)

12 C.E :Vrutta Ratnakara (Kedara Bhatta) ,Kavya Praklasha (mummata)

15 C.E : Chando Manjari (ganga Raja)

TAMIL :

-3 to 10 C.E : Tolkappiam (Tolkappiyanar)

10 C.E : Yappurungulam + Yappurungulakkarikai (Amruta Saagara)

11 C.E : Chulamani (Gunasagarar) , Purapporul Vembamalai (Iyanaar Idanaar), Dandiyalankaram(Annonymus)

12 C.E : Ilakkana Vilakkam (Jivanana Munivar)

13 C.E : Veyyappadial (Gunaveera Panditar)

17 C.E : Chidambaram Seyyuttakkovai (Kumara Kruparar)

18 C.E : Ilakkana Vilakkam (Vaidyanathan Alvar)

KANNADA

9 C.E : Kaviraja Marga (Sri Vijaya)

10 C.E : Chandobudhi (Nagavarma-1)

11 C.E : Kavyavalokana (Nagavarma-2)

12 C.E : Udayadityalankaram (Udayaditya) , Shrungara Ratnakara (Kavi Kama)

15-16 C.E : Madhavalankara (Madhava), Kavi jihva Bandhana (Eshwara Kavi) , Kavya Sara (Abhinava Vadi Vidyananda) , Rasa Ratnakara+Apratima Veera Charite (Tirumalarya)

17 C.E : Navarasalankara (Timma) , Kuvalayananda( Jayendra)

TELUGU :

13 C.E : Kavi Vagbhadanamu (Tikkana)

14 C.E : Pratapa Rudriya (Vaidyanatha) , Kavi Janaashrayamu (Rachanna ) , Kavyalankara Chudamani ( Vinnakota Peddana) , Shrungara Dipika (Srinatha)

Part-7 :
TABLE 4 : ENCYCLOPEDIAS

SANSKRIT :

5 C.E : Bruhatsamhita (Varahamihira)

12 C.E : Abhilashitartha Chintamani ( Bhulokamalla)

TAMIL :

10 C.E : Sendan Divakaram (Divakaram) , Pingalantai (Pingalar)

12 C.E : Chudamani Nigantu (Mangala Puttiran)

KANNADA :

10-11 C.E : Lokopakara (Chavundaraya)

15 C.E : Viveka Chintamani (Nijaguna Shivayogi) , Siribhuvalaya (Kumudendu), Shivatatva Chintamani (Lakkana Dandesha)

16 C.E :Sakala Vaidya Samhita Sararnva ( Veeraraja)

TELUGU :

20 C.E :Andhra Vignana Sarvasvam ( K.V.L. Pantulu)

Part-8:
TABLE 5 : MEDICINE/VETERINARY SCIENCE/EROTICS

SANSKRIT :

-2 TO 0 C.E : Sushruta Samhite (Sushruta) , Gajayurveda (Palakapya) , Ashvashastra (Shalihotra), Vaidyaka Sarvasva ashva Chikitse(Nakula)

0 TO 2 C.E : Charaka Samhita (Charaka) , Kumara Tantra (Ravana) , Prayoga Ratnakara (Garga), Bruhaspatimata (Bruhaspati), Kamasutra (Vatsayana)

4 C.E :Ashtanga Hrudaya + Ashtanga Sangraha (Vagbhata) , Ashvayurveda Saara Sindhu (MallaDeva) ,

5-7 C.E :Matanga Leela , Shalihotra , Ashva Vaidyaka

7 to 10 C.E : Madhava Nidanam +Rugna Nischaya (Madhavakara) , Charaka samhite-Commentary (Jayadatta Suri) , Rati Rahasya (kokkoka)

11 to 13 C.E : Nibandha sangraha (Dallana) , Shabda Pradipa (Sureshvara) , Raja Nighantu+Dhanvantari Nighantu (Narahari) , Sarottama Nighantu (Anonymus) , Bhanumati (Chakradatta) , Jayamangala (Yashodhara) , Nagara sarvasva (Padmashri)

14 to 15 C.E : Madana Vinoda Nighantu (Madanapala), Sarangadhara Samhite (Sarangadhara) , RatiManjari (JayaDeva)

16 to 17 C.E : Anna Pana Vidhi (Susena) , Pathyapathya Nighantu + Bhojana Kutuhala ( Raghunatha) , Anangaranga (Kalyana Malla) , Kandarpa Chudamani (Veerabhadra Deva)

TAMIL :

13 to 18 C.E : Vaidya Shataka Nadi + Chikitsa Sara Sangraha ( Teraiyar) , Amudakalai Jnanam+Muppu+Muppuvaippu+Muppuchunnam+Charakku+GuruseyNeer+PacchaiVettu chuttiram (Agastya) , Kadai Kandam +Valalai ChuttiraM +Nadukandam (Konganavar) , Karagappa +Muppu Chuttiram +Dravakam (Nandikeshvara) , Karpam +Valai Chuttiram (Bogara)

KANNADA :

11-12 C.E : Karnata Kalyana Karaka (Jagaddala Somanatha) , Balagraha Chikitse (Devendra Muni) , Govaodya (Kirti Varma) , Madana Tilaka (Chandra Raja) , Anubhava Mukura (Janna)

14 C.E : Khagendra Mani Darpana (Mangaraja) , Ashvashastra (Abhinava Chandra)

15 C.E : Vaidyanruta (Sridhara Deva) , Vaidya Sangatya (Salva) , Ashva Vaidya (Bacarasa), Janavashya (Kallarasa)

16 C.E : Vaidya Sara Sangraha (Channaraja) , Hastayurveda-Commentary (Veerabhadraraja ) , Ashva Vaidya (Bacarasa), Janavashya (Kallarasa)

17 C.E : Vaidya Sara Sangraha (Nanjanatha Bhupala) , Vaidya Samhita Sararnava (Veeraraja ) , Shalihotra Samhita (Ramachandra), Hayasara Samuccaya (Padmana Pandita), Vaidyakanda (Brahma), Strivaidya (Timmaraja)

TELUGU :

15 C.E : Haya Lakshana Sara (manumanchi Bhatta)

TABLE 9 : ASTRONOMY/MATHEMATICS/ASTROLOGY

SANSKRIT :

3-2 B. C.E : Surya Prajnapti , Stananga Sutra , Anuyogadvara Sutra , Shatkhandagama

2-0 B. C.E : Vedanga Jyotishya (Lagada) , Bhadrabahu samhita +Surya Prajnapti-Commentary (Bhadrabahu) , Tiloyapanatti (Yatishvaracharya), Tatvarthayagama shastra (Umasvamin)

5-6 C.E : Arya Bhatiya (Arya Bhata) , Pancvha siddantika + Bruhajjataka+Laghu Jataka + Bruhatsamhita (Varahamihira) , Dashagitika Sara (Anonymus) , Aryastashata (Anonymus)

6-7 C.E : Brahma sputa Siddhanta+Kanadakadhyaya(Brahma Gupta) , Maha Bhaskariyam + Karana Kutuhala (Bhaskara-1) , Rajamruganka (Bhoja)

8 C.E : Shishayabhuvruddhi (Lallacharya) , Ganita Sara sangaraha (Mahaveeracharya) , Horasatpanchashika(Pruthuyana)

11-12 C.E : Siddhanta Shekhara (Sripati) , Siddhanta Shiromani (Bhaskara-2)

14 C.E : Yantraraja (Mahendra Suri)

15 C.E : Tantra sangraha (Neelakantha somayaji)

16 C.E : Sputa Nirnaya (Achyuta)

TAMIL :

16-18 C.E : Ganakkadigaram , Ganita Nul , Asthana Golakam , Ganita Venba , Ganita Divakaram, Ponnilakkam

KANNADA :

11 C.E : Jataka Tilaka (Sridharacharya) ,

12 C.E : Vyavahara Ganita+Kshetra Ganita+Chitra Hasuge +Jaina Ganita Sutra Tikodaaharana +Lilavati (Rajaditya)

15 C.E : Kannada Lilavati (Bala Vaidyada Cheluva)

17 C.E : Ksetra Ganita (Timmarasa) , Behara Ganita (Bhaskara)

TELUGU :

11 C.E : Ganita sara Sangrahamu (Pavaluri Mallana)

http://ellakavi.wordpress.com/2007/11/12/it-is-necessary-for-kannadigas-to-know-about-the-greatness-of-their-language-which-most-are-not-aware-of/

http://historicalleys.blogspot.in/2010/02/calico-and-its-origins.html Calico and its origins

The direction of 'borrowings' from one language to another is a secondary component of the philological excursus; there is no universal linguistic rule to firmly aver such a direction of borrowing. Certainly, more work is called for in delineating the structure and forms of meluhha (mleccha) language beyond a mere list of metalware glosses.

http://www.docstoc.com/docs/102715008/Deśīnamamala-of-Hemacandra-ed-R-Pischel-(1938)

https://www.scribd.com/doc/247751007/Desinamamala-Of-Hemachandra

Desinamamala Of Hemachandra by Chandrashekar Ramaswamy

Spinner (kātī) lady rebus khātī 'wheelwright' Susa rosetta stone for Indus Script decipherment. Cipher and significance of numeral 'six' in Meluhha speech

The image of women in the ancient Orient

A royal interior

A Susian material

Bibliography

Resources to delineate Meluhha (Mleccha) language of ca. 4th millennium BCE

See: http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-evidence-for-mleccha.html Ancient Near East evidence for meluhha language and bronze-age metalware

Trending Articles

Practice Sheet of Right form of verbs for HSC Students

Download: FK ft Shenky – Nakuyewa ”Prod by: Shenky”

How to win at Markstrat (Markstrat Tips and Tricks) – Vodites

Ominde Commission Report and Recommendations – Ominde Report of 1964

Bureau of Internal Revenue: Regional Offices (Directory)

GO 53 on Enhancement of Ex-gratia upto 5 Lakhs Toddy Tappers in Telangana

Cakewalk CA-2A Leveling Amplifier v2.0.1.97 WiN, v2.0.1.96 OSX Incl Keygen

Mp3 Download: Mdu - Kunjenjenjena

How the kill the job , when DTP request running for long hours.

Microsoft Intune から展開しているアプリのアップデートについて

18-year-old girl was beaten for half an hour by two Northampton men in 'an...

Car crash in Dunton Bassett leaves driver in critical condition

Macky 2, Two Others In Road Accident

Application log 00000000000000089514: Could not convert queue DLVST90CLNT

Detroit mafia: D’Anna Brothers agree to plea deal

Delivery block field greyed out using VA02

Muloraki Au

【個人撮影】スマホのプライベート映像♪「中に出さないで///」カラオケ屋での生ハメ撮りが流出ｗ【リベンジポルノ】＠PornHub

BREAKING NEWS: Diamond Platnumz Is Reported Dead After Ghastly Car Accident

FIAT 500 B0111 B0112

The image of women in the ancient Orient

A royal interior

A Susian material

Bibliography

Resources to delineate Meluhha (Mleccha) language of ca. 4th millennium BCE

See: http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-evidence-for-mleccha.htmlAncient Near East evidence for meluhha language and bronze-age metalware

Trending Articles

See: http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-evidence-for-mleccha.html Ancient Near East evidence for meluhha language and bronze-age metalware