Mirror: http://tinyurl.com/phsapnp

Ancient migrations of Bhāratam Janam west-wards, east-wards, southwards

Since Indus Script Corpora are a veritable catalogus catalogorum of metalwork, archaeo-metallurgical traditions were signified by Indus Script hieroglyphs on many artifacts attested archaeologically from many contact areas of the Civilization.

Impact of plate tectonics and rise of dynamic Himalayas and consequent changes in drainage systems of Sarasvati-Sindhu river basins, led to migrations of artisans of the civilization weswards to a number of regions of Ancient Near East, eastwards to Ganga River Basin and southwards along the coastline of Indian Ocean to Kerala and southern regions of Bharat such as Daimabad, on Godavari River Basin, Swamimalai on the Kaveri River Basin.

That the region of Sarasvati-Sindhu river basins was subject to frequent earthquakes caused by plate tectonics of the Indian plate moving northwards jutting into European plate at the pace of 6 cms. per year (lifting up the Himalayan ranges by 1 cm per year), is also attested in the Mahabharata epic which documents the enormity of the earthquakes and records the engulfing of Dwaraka by seawaves and submergence of Dwaraka.

The migration of River Yamuna carrying the waters of Glacial Sarasvati from Paonta Saheb to join the Ganga creating Triveni Sangamam and themigration of River Sutlej by a 90-degree turn at Ropar, to join the Sindhu river, cut off the glacial perennial waters to Vedic River Sarasvati. Thus, the Sarasvati River become a monsoon-based river with stretches of breaks in the navigable channel and the creation of saras, 'lakes' in the regions of Haryana and Rajasthan. The snapping of the navigability of the River Sarasvati impacted the seafaring merchants of Meluhha who had crossed the Persian Gulf beyond Dholavira-Surkotada in Rann of Kutch to conduct maritime trade. The snapping of trade connections led to migrations of people eastwards and southwards as evidenced by the settlements of Rakhigarhi (near Delhi) and Daimabad on Pravara River, a tributary of River Godavari. That the migrations occurred southwards is attested in Purananuru, a Sangam text in Tamil.

For migrations of Bhāratam Janam westwards indicated by the presence of cylinder seals with Indus Script hieroglyhs in Ancient Near Edast sites Shahdad, Sumer, Turkmenistan, tello (Ancient Girsu), Bogazkoy, Mitanni, Old Syria, see: http://bharatkalyan97.blogspot.in/2015/10/indus-script-hieroglyph-twisted-rope-on.html Indus Script hieroglyph 'twisted rope' on 14 Ancient Near East seals/artifacts deciphered, linked to Dhā̆rvā̆ḍ iron-ore town Karnataka, India This note documents the presence of Indus Script hieroglyph of 'twisted rope' which signified rebus dhā̆vaḍ 'iron-smelters'.dhāv 'red ore' (ferrite) ti-dhāu 'three strands'ti-dhāv 'three ferrite ores: magnetite, hematite, laterite'. The hieroglyph occurs in the Ancient Near East artifacts linking with iron smelters working with iron ore mines in the region surrounding Dharwar, Karnataka and Ib, Orissa.

Recurrent earthquakes caused by plate tectonics are also indicated in ancient texts. For example, after Krishna’s atman departs the mortal body---

विवृद्ध मूशिकारथ्या विभिन्नमणिकास्तथा केशानखाश्च सुप्तानामद्यन्ते मूशिकैर्निशी (MBh., Mausala, 2.5)

चीचीकूचीति वाशन्ति सारिका वृष्णिवेश्मसु नोपशाम्यति शब्दश्च स दिवारात्रमेव हि (MBh., Mausala, 2.6)

अन्वकुर्वन्नुलूकानाम् सारसा विरुतं तथा अजाः शिवानाम् विरुतमन्वकुर्वत भारत (MBh., Mausala, 2.7)

Streets swarmed with rats and mice, earthen pots showed cracks or were broken from no apparent cause, sarika_s chirped ceaselessly day and night, sa_ras hooted like owls, goats cried like jackals, pigeons departed from their homes, and asses brayed aloud in disconsonant and awful voices (Ganguly, 1998).

निर्याते तु जने तस्मिन् सागरो मकरालयः द्वारकां रत्नसंपूर्णं जलेन प्लावयत् तदा (MBh., Mausala, 7.41)

तदद्भुतमभिप्रेक्ष्य द्वारकावासिनो जनाः तूर्णात् तूर्णतरम् जग्मुरहो दैवकितिब्रुवन् (MBh., Mausala, 7.43)

The sea, the abode of monsters, engulfed the gem-filled Dwraka with waves soon after the people departed the place. Seeing this astounding incident, the citizens of Dwaraka ran away, exclaiming, ‘O, our fate’. (Ganguly, 1998).

Reference to Dwaraka as Thuvarai in an ancient Sangam text

Ayasipur is a Vedic expression. अयस् n. iron , metal RV. &c अयस्मय (अयोमय) a. (-यी f.) Ved. Made of iron or of any metal. -यी N. of one of the three habita- tions of Asuras. pur पुर् f. (Nom. sing. पूः; instr. du. पूर्भ्याम्) 1 A town, fortified town; thus ayasipur refers to a fortification made of stone or metal. (पूरण्यभिव्यक्तमुखप्रसादा R.16.23)

துவரை² tuvarai, n. See துவாரகை. உவரா வீகைத் துவரை யாண்டு (புறநா. 201). துவாரகை tuvārakai, n. < dvārakā. The capital of Kṛṣṇa on the western side of Gujarat, supposed to have been submerged by the sea, one of catta-puri, q. v.; சத்தபுரியுளொன் றாயதும் கடலாற்கொள்ளப்பட்ட தென்று கருதப்படுவதும் கண்ணபிரான் அரசுபுரிந்ததுமான நகரம்.

This Vedic expression ayasipur is consistent with the description of Dwaraka in Purananuru as a fortification with walls made of copper (metal).

இவர் யார் என்குவை ஆயின் இவரே
ஊருடன் இரவலர்க்கு அருளித் தேருடன்

முல்லைக்கு ஈத்த செல்லா நல்லிசை
படுமணி யானைப் பறம்பின் கோமான்
நெடுமாப் பாரி மகளிர் யானே
தந்தை தோழன் இவர் என் மகளிர்
அந்தணன் புலவன் கொண்டு வந்தனனே
நீயே வட பால் முனிவன் தடவினுள் தோன்றிச்
செம்பு புனைந்து இயற்றிய சேண் நெடும் புரிசை
உவரா ஈகைத் துவரை யாண்டு
நாற்பத்து ஒன்பது வழி முறை வந்த
வேளிருள் வேள விறல் போர் அண்ணல்
தார் அணி யானைச் சேட்டு இருங்கோவே
ஆண் கடன் உடைமையின் பாண் கடன் ஆற்றிய
ஒலியற் கண்ணிப் புலிகடிமாஅல்
யான் தர இவரைக் கொண்மதி வான் கவித்து
இரும் கடல் உடுத்த இவ் வையகத்து அரும் திறல்
பொன்படு மால் வரைக் கிழவ வென் வேல்
உடலுநர் உட்கும் தானைக்
கெடல்அரும் குரைய நாடு கிழவோயே !

If you ask who they are, they are his daughters,
he who granted cities to those who came in need
and earned great fame for gifting
a chariot to the jasmine vine to climb,
he who owned elephants with jingling bells,
the lord of Parampu, the great king Pāri.
They are my daughters now.
As for me, I am their father’s friend, a Brahmin,
a poet who has brought them here.

You are the best Vēlir of the Vēlir clan,
with a heritage of forty nine generations of Vēlirs
who gave without limits,
who ruled Thuvarai with its long walls that
seemed to be made of copper, the city that
appeared in the sacrificial pit of a northern sage (Yaja).
King who is victorious in battles!

Great king with garlanded elephants!
Pulikatimāl with a bright garland
who knows what a man’s responsibility is,
and what you can do for bards!
I am offering them. Please accept them.
Lord of the sky high mountain that yields gold!
You whose strength cannot be equaled on the earth
that is covered by an arched sky and surrounded
by the ocean, you whose army puts fear into
enemies with victorious spears!
O ruler of a land that can never be ruined!

Irunkovel is supposed to be 49th generation of a king from (Thuvarai) Dwaraka. It can mean two things. Assuming about 30 years per generation, 1500 years earlier Dwaraka which had walls made of copper. Dating the early phase of Sarasvati-Sindhu civilization to ca. 3500 BCE, and the submergence of Dwaraka to ca. 1900 BCE (a date indicative of the drying up of Vedic River Sarasvati due to migrations of Sutlej and Yamuna rivers which were tributaries bringing in glacier waters), which necessitated the movements of Sarasvati's children down the coastline to Kerala, this text places Sangam literature text of Purananuru to ca. 400 BCE.

(Source: http://historum.com/asian-history/76340-satyaputras-earliest-indo-aryanizers-south-india-3.html

Migration from Tuvarai (Dwaraka) is attested in a 12^th century inscription (Pudukottai State inscriptions, No. 120) cited by Avvai S. Turaicaami in Puranaanuru, II (SISSW Publishing Soc., Madras, 1951).

•துவரை மாநகர் நின்ருபொந்த தொன்மை பார்த்துக்கிள்ளிவேந்தன் நிகரில் தென் கவரி நாடு தன்னில் நிகழ்வித்த நிதிவாளர்

Archaeo-metallurgical and seafaring traditions of the Civilization are attested in regions of southern Bharat

The archaeo-metallurgical and seafaring traditions of the Civilization are attested in Southern Bharat as exemplified by the following:

1. Aranmuḷa high-tin bronze mirror āṟanmuḷakkaṇṇāṭi

and Uthrittathy vaḷḷaṃ kaḷi, ള്ളംകളി boat race in memory of seafaring merchants of Meluhha

2. Swamimalai cire perdue utsava bera of pancaloha (five alloy metals)

3. अष्ट-मङ्गलम् hieroglyphs signifying metalwork worn as sacred insignia

4. Svastika, Indus Script hieroglyph multiplex hypertext signifying 'zinc, spelter, pewter alloy'

5. Ox-hide ingot, tree hieroglyphs on Sanchi/Bharhut sculptural friezes signifying metal ingots and smelters (kuThi 'tree' rebus: kuThi 'smelter')

Section 1: āṟanmuḷakkaṇṇāṭi, 'mirror'

ആറന്മുളക്കണ്ണാടി

A bronze mirror is among the astamangalas अष्ट-मङ्गलम् [अष्ट- गुणितं मङ्गलं शा. क. त.] a collection of eight auspicious things; according to some they are:-- मृगराजो वृषो नागः कलशो व्यञ्जनं तथा । वैजयन्ती तथा भेरी दीप इत्यष्टमङ्गलम् ॥ according to others लोके$स्मिन्मङ्गलान्यष्टौ ब्राह्मणो गौर्हुताशनः । हिरण्यं सर्पि- रादित्य आपो राजा तथाष्टमः ॥

Aranmuḷa metalwork by artisans are exemplified in high tin-bronze mirrors produced by Vishwakarma വിശ്വകർമ്മജർ Using the cire perdue or lost-wax casting technique, a Sarasvati-Sindhu civilization tradition continues in a village of Kerala, Aranmula, by Visvakarma sthapatis who make high-tin bronze mirrors which are patented as Geographical Indicators and called āṟanmuḷakkaṇṇāṭi.

“Mirrors had both aesthetic value and magico-religious significance in parts of Asia, as in China and India. Bronze mirrors with figurines on handles are known from ancient Egypt. Flat, circular tanged mirrors were found from Harappan contexts northwest of the Indian subcontinent at Quetta and Harappa in Pakistan (ca. 2000 BCE) and Dholavira in Gujarat, India. These would probably have been made of bronze of low tin content (i.e. < 10% tin)...A unique mirror-making tradition survives at the village of Aranmula, Kerala, southern India. Here, a cast high-tin bronze mirror of 33% tin with highly specular or reflective properties is made which is comparable to, if not better than, modern mercury glass-coated mirrors. The presence of the brittle silvery-white delta phase of bronze is optimized while avoiding the use of lead, which could have dulled the mirror effect... Two unleaded bronze samples of 22% and 26% tin were reported from the Indus Valley site of Mohenjodaro (ca. 2500 BCE), although they might be accidentally alloyed. Although flat bronze mirrors are found from Indus sites such as Quetta, these do not sem to have been analysed and are much more likely to have been of copper or low-tin bronze. However, from the Bhir mound in Taxila, Pakistan, a binary high-tin bronze mirror of 25% tin was uncovered. Thus it is probable that the Aranmula mirror-making process evolved out of longstanding metallurgical traditions prevalent in the Indian subcontinent for the use of bronzes of high-tin content."

http://www.currentscience.ac.in/Downloads/article_id_093_01_0035_0040_0.pdf

https://www.scribd.com/doc/289580889/Skilled-mirror-craft-of-intermetallic-delta-high-tin-bronze-Cu31Sn8-32-6-tin-from-Aranmula-Kerala-Sharada-Srinivasan-and-Ian-Glover-Current-S

"In China,bronze mirrors were manufactured from around 2000 BC, some of the earliest bronze and copper examples being produced by the Qijia culture. Mirrors made of other metal mixtures (alloys) such as copper and tin speculum metal may have also been produced in China and India."

https://en.wikipedia.org/wiki/Mirror

The largest known Aranmula mirror is at the British Museum with a height of 18 inches, and is said to be worth a few lakhs, as this size mirrors are no longer made now a days

High tin-bronze Aranmula mirror, British Museum, 18 inches

British Museum. Bronze mirror. ca. 300 BCE.
https://www.studyblue.com/notes/note/n/arth-2300-study-guide-2014-15-smith/deck/14134529

Chettle Park hoard;
British Museum, London, UK

Description:

Dimensions: 23.5 x 21cm

“This mirror is decorated with an exquisite geometric La Tène design. The decoration is the most beautifully executed example known to date (60 mirrors of this period are known from Britain). The Chettle mirror complements other mirrors in the British Museum's collections, particularly Desborough and Holcombe but is of greater artistic note. The museum is embarking on the first systematic full-scale study of Iron Age mirrors in Britain for over a century. The mirror forms part of a larger rare burial hoard and the museum hopes to display the hoard together with a focus on the mirror and its uniqueness and skill of decoration.”

– Source: http://www.artfund.org/artwork/10427/mirror-from-the-chettle-park-hoard, 8/27/09

Background:

Iron Age
1st century BC — mid 1st century AD

“Found by a metal detectorist in Chettle Park, Dorset as part of an assemblage of bronze and glass objects by metal detectorists in August 2003.”

Acquisition Details:
Grant Paid: £18,000 (Total: £18,000)
ArtFunded in: 2009
Vendor: Department for Culture, Media and Sport

Great Chesterford mirror, Cambridge Museum, Cambridge, UK

Great Chesterford mirror

Description:

Broken.

Height: 23.5 cm

"This Celtic bronze mirror, much like the Old Warden Mirror from Bedfordshire, contains a design based on three-sided voids, rather than lobe patterns. Six matted shapes are located around the perimeter of the mirror. These shapes appear in different form, yet all are connected by the interwoven basket-hatching."

Background:

1st century BC — mid 1st century AD
Found circa 1959 in a female burial at Chesterford, Essex, UK.
-Source: http://www.unc.edu/celtic/catalogue/mirrors/ #The Great Chesterford Mirror, 8/17/09

Source: http://www.celticmirrors.org/

Aranmula Kannadi
"

Sunday, May 17, 2009

Majestic mirrors -- Sadananda Menon

The ancient art of making metal mirrors is still practiced, without modifications, by a few artisan families in Aranmula village of Kerala. The making of the mirror, a unique gift of India to the world, involves a long process that needs a lot of patience, writes Sadanand Menon

LIKE Darjeeling tea or Benarsi sari, the Aranmula bronze mirror is a unique gift of India to the world. The exquisite metal bronze mirror is produced only in Aranmula, a village in Kerala. The mystery of its production is a family gift handed over through generations. The ancient art of making metal mirrors is still practiced, without modifications, by a few artisan families in Aranmula...

Some undisclosed metals (as known to the seven artisan`A0families of Aranmula) are alloyed with copper and tin to cast the mirror in typical clay moulds. The method is the age-old lost-wax process in traditional style after melting the metals in a furnace fitted with a manual blower… Studies by Sharda Srinivasan, a researcher in Archaeometallurgy in the National Institute of Advanced Studies at the Indian Institute of Science, Bangalore, and her colleague, discovered the secret of the alloy that Aranmula mirrors were made of — a binary copper-tin alloy with 32-34 per cent tin…. She also noted that the skill of alloying was developed to such perfection by the Aranmula artisans that it matched the pure delta phase of bronze, offering the best possible uniformly-polished surface, and is long lasting.

"
http://www.tribuneindia.com/2009/20090517/spectrum/main2.htm

Ancient history is all around us. The celebration of Bali Yatra on Karthik Purnima day in Bharatam coastline is a remembrance of the ancesors, seafaring people among Bharatam Janam who created the Hinduised States of the Far East (pace George Coedes' work in French with the title).

Another remarkable evidence comes from Aranmula where two ancient traditions are celebrated annually: 1. the high tin-bronze mirror in remembrance of the archaeometallurgical traditions of Sarasvati-Sindhu Civilization; and 2. annual boat race in remembrance of the seafaring merchants who had interactions across Persian Gulf upto Haifa, Israel in the Fertile Crescent where a shipwreck revealed three pure tin ingots with Indus Script inscriptions.2. Aranmula snake boat race palliyodam is held annually, on ‘’Uthrittathi’’ day, the birthday of Sri Krishna, Ashtamarohini day.

images of Aranmula Kannadi making process http://aranmulakannadi.org/tag/aranmula-mirror/

Clay mould

Aranmula is a little village in the district of Pathanamthitta, which is well known for its ancient temple dedicated to Lord Sree Krishna as Parthasarathy,the colorful snake boat Regatta and the Aranmula Kannadi.
The British Museum in London has a 45 centimeter tall Aranmula metal mirror in its collection

"Bronze mirrors preceded the glass mirrors of today. This type of mirror has been found by archaeologists among elite assemblages from various cultures, from Etruscan Italy to China...In the Indus valley civilization, manufacture of bronze mirrors goes back to the time between 2800 and 2500 BCE.(Richard Corson: Fashions in Makeup: From Ancient to Modern Times, 1972)." Sourced from World Heritage Encyclopedia. http://self.gutenberg.org/Article.aspx?Title=bronze_mirrors

"Polished bronze or copper mirrors were made by the Egyptians from 2900 BCE onwards." (Z. Y. Saad: The Excavations at Helwan. Art and Civilization in the First and Second Egyptian Dynasties, University of Oklahoma Press, Oklahoma 1969, p.54)

"A Story from Corea called ‘The Magic Mirror’ tells us that a young peasant went from his village to the capital in order to sell his products and to buy some commodities. Passing a shop-window he was struck by having seen somebody in the window who could not have been anybody else but his twin-brother. He was amazed at this because his brother was living in another town. He stood still and gazed, and now he was sure that it was his twin-brother, because when he smiled at him he smiled back. ‘I must have this magic’, he thought. So he entered the shop and asked whether he could buy this strange thing in which was to be seen his counterpart. The shopkeeper wrapped it up and remarked laughingly: ‘Be careful not to crack it, so that your brother will not get lost’. The peasant took it home, but before he could unpack it to show his family he was called away on urgent business." B. Schweig, 1941, Mirrors, in: Antiquity / Volume 15 / Issue 59 / September 1941, pp 257-268

Published: May 5, 2013 17:03 IST | Updated: May 6, 2013 19:30 IST Kochi, May 5, 2013

A reflection of tradition

ANASUYA MENON

The Hindu

CRYSTAL CLEAR: An Aranmula mirror. Photo: H. Vibhu

A sale of traditional Aranmula mirrors is on at the Kairali outlet

A sparkling Aranmula mirror is clearly the show-stopper among giant wooden handicrafts at the Kairali showroom on M.G. Road. A few more in various sizes have been stacked at the entrance as part of an exclusive sale of the mirrors on at the store.

The sale is part of Kairali’s efforts to promote the work of the artisans who have been engaged in making the famed mirrors, says Aravindakshan N.D., store manager. “Only a few artisans remain who know the art of making the mirrors and it is important to preserve the tradition,” he says. “It is a pity that not many people in Kerala know about the speciality of the mirror,” Aravindakshan adds. Kairali conducts an annual sale of the mirrors to create awareness on the age-old tradition of the Aranmula Kannadi.

Though it received national attention after finding a place on the Geographical Indications (GIs) registry of India, the legend of the Aranmula mirror has survived, peppered with colourful anecdotes and folklore. “It is very close to the culture of Kerala. It is one of the ‘ashtamangalyams’ and considered auspicious if one possesses it,” Aravindakshan says.

Unlike ordinary mirrors, which reflect from the silver nitrate coating, the aranmula mirror reflects from the surface, thereby eliminating distortions. It is an alloy of metals, the combination of which is known only to the families that make it in Aranmula.

The craft is handed down generations by these artisans, who are believed to have migrated from Tamil Nadu during the construction of the Aranmula temple.

“They guard their precious secret and is passed on only to their future generations,” Aravindakshan says.

Most of the mirrors on display at Kairali have ornate bell-metal frames. They come in fancy velvet boxes, too. The smallest mirror on sale starts at Rs. 1,650 and the largest has been priced at Rs. 25,000. A ten per cent discount will be offered. For companies or individuals who want larger mirrors, or particular designs, they can place orders at Kairali, who would then place the order with the artisans.

http://www.thehindu.com/features/friday-review/history-and-culture/a-reflection-of-tradition/article4683532.ece?css=print

Published: July 13, 2012 00:00 IST | Updated: July 13, 2012 04:50 IST KOLLAM, July 13, 2012

Aranmula mirrors for sale

Staff Reporter

Mirrors priced between Rs.1,200 and Rs.37,500

Magic mirror:Aranmula mirrors on display at the Kairali showroom in Kollam.— Photo: C. Suresh Kumar

A 21-day exhibition and sale of Aranmula mirrors began at the Kairali showroom of the Handicrafts Development Corporation of Kerala Limited at Chinnakada here on Wednesday. The show was inaugurated by Mayor Prasanna Earnest.

Showroom manager S. Chandrakumar said that Aranmula mirrors with prices from Rs.1,200 to Rs.37,500 were for sale at the exhibition. The mirrors come in the shape of conchs, sun, peacocks, and swans.

These mirrors, which are not made of glass, do not crack if they fall. They are metal mirrors, created from an alloy of copper and tin, with an interesting history. They are also considered one among the eight auspicious items or “ashtamangalyam” that make up a Kerala bride’s trousseau. The manufacture of this mirror is still a closely guarded secret shared by only a few artisans.

They are produced in Aranmula and even the British Museum in London has a 45-cm tall Aranmula mirror in its collection. The origin of this mirror is linked to the Aranmula Parthasarahty Temple.

There are Aranmula mirrors which cost $1,00,000. Many believe that owning an Aranmula mirror will bring luck. Mr. Chandrakumar said that the show had already started drawing crowds. Sale of these mirrors at the exhibition held at the same showroom last year touched Rs.6 lakh, he said. The show ends on July 31.

http://www.thehindu.com/todays-paper/tp-national/tp-kerala/article3634151.ece?css=print

Aranmula Kottaram on the banks of River Pampa. The palace is an architectural form Nalukettu which is made based on Thachu Sastra, or the Science of Carpentry and Traditional Vasthu. Here the 'Thiru Abharanam', ornaments of Lord Ayyappa at Sabarimala, were originally kept and constitutes a stop-over of the annual procession from Pandalam. It is a Vasthu Vidya Gurukulam, teaching Sthapatya Vidya, the documented traditional knowledge of the Vis'vakarmas transmitted from generation to generation of the architect or sthapati guilds. The nilavara, ara, etc. in this building are unique and was originally meant for weapons storage and grains."The Kampam festival in the Malayalam month of Dhanu where children and youth go to each house and collect the arecanut palm leaf thanungu perukku, later burning it tied to a palm tree. This is in remembrance of Khandava Dahanam as believed." https://en.wikipedia.org/wiki/Aranmula

Ma. vaḷḷam canoe, boat of one trunk, large bamboo basket (holding 200-400 paṟa of rice), a small measure;vallam large basket to hold grain, grass, charcoal. Ko. vaḷm (obl. vaḷt-) a grain measure (= 3 oḷk); valm (obl. valt-) round grain-storage basket. To.poḷm (obl. poḷt-) a bamboo vessel. Ka. baḷḷa a measure of capacity, the fourth part of a koḷaga or 4 mānas. Tu. baḷḷa a seer, measure of capacity equal to about one seer or eighty tolas. Te. baḷḷa a certain measure of capacity;Ta. vaḷḷam a dish for use in eating or drinking, hour-glass, a measure of grain (= 4 marakkāl), a measure of capacity (= 2 or 4 paṭi), boat made of trunk of a tree, canoe; vallam ola basket. (DEDR 5315)

https://www.youtube.com/watch?v=1YyfDyoGbPQ

Vallappattu (By ARANMULA VALLAMKALI) Published on Jul 25, 2012 (13:56)

Kuchela vrythom Vanchipattu 'Boat song':

Singers – Paranja-thangane thanney-

Oarsmen - Thei thei -thakathei thei thoy-

Singers – Paranja-thangane thanney-

Oarsmen – Thitha tha thi- thei thei,

Singers – Paranja-thangane thanney – paathirava-yallo Pathni

Oarsmen – Paranja-thangane thanney – paathirava-yallo Pathni

All together – Ohh thei thei - thei thei - thei thakathoy,

Thii thitho - thiyo thikitho Thim.

Singers - Kuranj-onnurangatte njan

Oarsmen - Thei thei -thakathei thei thoy-

Singers - Kuranj-onnurangatte njan

Oarsmen – Thitha tha thi- thei thei,

Singers - Kuranj-onnurangatte njan ulak -irezhum

Vallam Kali originated in Assyria, on a New Year's Day in 300 BCE. Vallam Kalli events were conducted by several ancient Indian states. It is a harvest festival of Onam in Autumn (s'aradah). Hence the benediction, a unique Bharatiya idiom: jeevema s'aradah s'atam, may you live a hundred autumns.

Vallam-kali

വെള്ളംകുളങ്ങര ചുണ്ടൻ വള്ളം

The famous Uthrittathy vaḷḷaṃ kaḷi, ള്ളംകളി, literally "boat game"

Aranmula boat race, palliyodam 'snake boats or chundan vallam (war or 'beaked boat)'. Palliyodams belong to different ‘’karas’’ (rustic parts) on the banks of river Pampa. Each one will usually have 4 helmsmen, rowers and singers. It is decorated with golden lace. There will be a flag and two or three ornamental umbrellas. These boats are about 100 to 138 ft in length, with the rear portion towering to a height of about 20 ft. and a long tapering front portion. Hulls are built of planks precisely 83 feet in length and six inches wide. The boats are a good example of ancient Vishwakarma'prowess in naval architecture. Oarsmen use12-foot-long (3.7 m) main rudder-oar (Adanayampu). "Sitting two to a row along the length of the boat, there will be 64 oarsmen, representing 64 art forms (or on occasion 128 oarsmen). They row in rhythm of the vanchipattu (boatman's song). There will be around 25 singers in a row at the middle between the oarsmen. In the middle of the second half of the boat is a platform for eight people to stand from where the cantor will lead the song. They represent the Ashtadikpalakas (the Devas or Gods who guard the eight directions)." https://en.wikipedia.org/wiki/Chundan_Vallam

Villagers in karas worship that boat like a deity.

Snake Boat Chundan Vallam

‘’Uthrittathi’’ day is the anniversary of the installation of the idol consecrated in the south, byPandavas. So on that day, there will be a Snake boat regatta in front of the Aranmula temple.

(Malayalam: സദ്യ, Sanskrit: सग्धिः, Sagdhiḥ: "Valla Sadya 'banquet' is a celebration in the temple at Aranmula, Kerala, India. During the festival the village conducts a snake boat race in the Pampa River, and there is a feast at the temple. The Valla Sadhya is conducted on Ashtamirohini day, the birthday of Sri Krishna. During Valla Sadhya, Lord Krishna, the main deity worshipped in the temple, will come to take the offerings from people."

Legend has it that eight families of experts in temple arts and crafts were brought by the royal chief to Aranmula Parthasarathy Temple from Tirunelveli district to work centuries ago on the mirrors. The temple with the mulavar of Sri Krishna is one of 108 Divyadesam. The temple was originally built at Sabarimala near Nilackal and later shifted to Aranmula.

Geographical Indications Registry

State wise registration details of GI applications (From April 2004-March 2005) lists as Aplication No. 3 ‘Aranmula Kannadi’ handicraft of Kerala (http://ipindia.nic.in/girindia/). The Registration has been done in Intellectual Property Office, Guindy, Chennai. "Geographical Indications of Goods are defined as that aspect of industrial property which refer to the geographical indication referring to a country or to a place situated therein as being the country or place of origin of that product. Typically, such a name conveys an assurance of quality and distinctiveness which is essentially attributable to the fact of its origin in that defined geographical locality, region or country. Under Articles 1 (2) and 10 of the Paris Convention for the Protection of Industrial Property, geographical indications are covered as an element of IPRs. They are also covered under Articles 22 to 24 of the Trade Related Aspects of Intellectual Property Rights (TRIPS) Agreement, which was part of the Agreements concluding the Uruguay Round of GATT negotiations.

India, as a member of the World Trade Organization (WTO), enacted the Geographical Indications of Goods (Registration & Protection)Act, 1999 has come into force with effect from 15th September 2003."

Some claim that Aranmula Kannadi is made of silver, bronze, copper and tin alloy. Is this comparable to 'speculum metal'?

"Speculum metal is a mixture of around two-thirds copper and one-third tin making a white brittle alloy that can be polished to make a highly reflective surface. It is used primarily to make different kinds of mirrors including early reflecting telescope optical mirrors. Speculum metal can also be used as the metallic coating on glass mirrors (as opposed to silver or aluminium) giving a reflectivity of 68% at 6000 angstroms when evaporated onto the surface...Speculum metal mixtures usually contain two parts copper to one part tin along with a small amount of arsenic, although there are other mixtures containing silver, brass, lead, or zinc. The knowledge of making very hard white high luster metal out of bronze-type high-tin alloys may date back more than 2000 years in China ((Joseph Needham, 1974, Gwer-djen Lu, Science and civilization in China, Volume 5, Cambridge Univ. Press, page 236). although it could also be an invention of western civilizations (The Journal of the Anthropological Institute of Great Britain and Ireland, Volume 64, p. 71)."

The speculum metal mirror from William Herschel's 1.2-meter (49.5-inch) diameter "40-foot telescope", at the Science Museum in London

https://en.wikipedia.org/wiki/Speculum_metal

"Mud from the local paddy field is used to make the mould. The technique used is cire perdue or lost wax method of casting. The bell metal mirror is coated with a metallic powder mixed with special oil. The metal surface is rubbed with a hessian cloth."

http://sparanmulakannadi.com/aranmulamirror.html

Aranmula Mirror Making Uploaded on Jan 4, 2010
A brief description on the making of Aranmula Mirror / Kannadi, unique metal mirror which is made in the village of Aranmula, Kerala, India. Aranmula Kannadi is famous round the globe. Its unique architecture and finishing made this mirror widely accepted.

https://www.youtube.com/watch?v=8Y-kWGe01jE

Making of Aranmula mirror: Ithalukal 17th November 2014

Published on Nov 17, 2014

Making of Aranmula mirror: Ithalukal 17th November 2014. ആറന്മുള കണ്ണാടി നിര്‍മ്മിക്കുന്നത് ഇങ്ങനെ

https://www.youtube.com/watch?v=qQd_53IFK7Q

Aranmula Kannadi Video Created by Biospace Technologies www.relaxstudy.com Published on Jul 26, 2013
Gopakumar, Vis'vakarma says that this is a 2,500 year old tradition.

https://www.youtube.com/watch?v=uPWPFJ0xldQ

Darpana Sundari, 'mirror beauties' on sculptures
Parvati as Lalita carrying a bronze mirror, with her sons Ganesa and Skanda, Orissa. 11th cent. Now in British Museum. 1872.0701.54

Section 2. Swamimalai cire perdue utsava bera of pancaloha (five alloy metals)

Another Sarasvati-Sindhu civilization tradition, cire perdue casting of sculpted bronze images such as the dancing girl or deepalakshmi bronze statues,
continues among dhokra kamar of northern Bharat and by Visvakarma sthapatis in Swamimalai, Tamil Nadu who make pancaloha (five metal-alloy) utsava bera used in temple processions and festivities.
See: http://bharatkalyan97.blogspot.in/2015/06/tvastr-as-visvakarma-karu-smith-cire_17.html

Tvaṣṭṛ as Viśvákarma, kāru 'smith', cire perdue metalcaster. Continuing traditions of utsava bera in Bharatam

Section 3. अष्ट-मङ्गलम् hieroglyphs signifying metalwork worn as sacred insignia

ஐம்படை ai-m-paṭai n. < ஐந்து +. 1. The five weapons of Viṣṇu. See பஞ்சாயுதம். (சூடா.) 2. See ஐம்படைத்தாலி. ஐம்படை சதங்கை சாத்தி (பெரியபு. தடுத்தாட். 4).ஐம்படைத்தாலி ai-m-paṭai-tāli, n. < ஐம்படை +. A gold pendant worn by children in a necklace bearing in relief the five weapons of Viṣṇu, as an amulet; கழுத்திலே பிள் ளைகளணியும் பஞ்சாயுதவுருவமைந்த அணி. ஐம்படைத் தாலி . . . குறுநடைப் புதல்வர்க்கு. (மணி. 7, 56).
ஐம்படைப்பருவம் ai-m-paṭai-p-paru- vam, n. < id. +. Stage of childhood appropriate for wearing the aimpaṭai-t-tāli; ஐம் படைத்தாலியை யணிதற்குரிய குழந்தைப்பருவம். ஐம் படைப்பருவத்து வெம்படை தாக்கி (S.I.I. ii, 310).

A note on the evolutionj of Srivatsa hieroglyph from Begram ivories is at http://bharatkalyan97.blogspot.in/2015/06/deciphering-indus-script-

Necklaces with a number of pendants

aṣṭamangalaka hāra

aṣṭamangalaka hāra depicted on a pillar of a gateway(toran.a) at the stupa of Sanchi, Central India, 1st century BCE. [After VS Agrawala, 1969, Thedeeds of Harsha (being a cultural study of Bāṇa’s Harṣacarita, ed. By PK Agrawala, Varanasi:fig. 62] The hāra or necklace shows a pair of fish signs together with a number of motifsindicating weapons (cakra, paraśu,an:kuśa), including a device that parallels the standard device normally shown in many inscribed objects of SSVC in front of the one-horned bull.

•

(cf. Marshall, J. and Foucher,The Monuments of Sanchi, 3 vols., Callcutta, 1936, repr. 1982, pl. 27).The first necklace has eleven and the second one has thirteen pendants (cf. V.S. Agrawala,1977, Bhāratīya Kalā , Varanasi, p. 169); he notes the eleven pendants as:sun,śukra, padmasara,an:kuśa, vaijayanti, pan:kaja,mīna-mithuna,śrīvatsa, paraśu,

darpaṇa and kamala. "The axe (paraśu) and an:kuśa pendants are common at sites of north India and some oftheir finest specimens from Kausambi are in the collection of Dr. MC Dikshit of Nagpur."(Dhavalikar, M.K., 1965, Sanchi: A cultural Study , Poona, p. 44; loc.cit. Dr.Mohini Verma,1989, Dress and Ornaments in Ancient India: The Maurya and S'un:ga Periods,Varanasi, Indological Book House, p. 125).

After Pl. 30 C in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77)

In his 1890 monograph, Theobald lists 312 'symbols' deployed on punch-marked coins. He revises the list to 342 symbols in his 1901 monograph. It should be noted that many of the symbols recorded on punch-marked coins also survive on later coinages, in particular of Ujjain and Eran and on many cast coins of janapadas. DR Bhandarkar’s view is that the early punch-marked coinage in Hindustan is datable to 10^th century BCE though the numismatists claim that the earliest coinage is that of Lydia of 7^th century BCE.

“The coins to which these notes refer, though presenting neither king’s names, dates of inscription of any sort, are nevertheless very interesting not only from their being the earliest money coined in India, and of a purely indigenous character, but from their being stamped with a number of symbols, some of which we can, with the utmost confidence, declare to have originated in distant lands and in the remotest antiquity…The coins to which I shall confine my remarks are those to which the term ‘punch-marked’ properly applies. The ‘punch’ used to produce these coins differed from the ordinary dies which subsequently came into use, in that they covered only a portion of the surface of the coin or ‘blank’, and impressed only one, of the many symbols usually seen on their pieces…One thing which is specially striking about most of the symb ols representing animals is, the fidelity and spirit with which certain portions of it may be of an animal, or certain attitudes are represented…Man, Woman, the Elephant, Bull, Dog, Rhinoceros, Goat, Hare, Peacock, Turtle, Snake, Fish, Frog, are all recognizable at a glance…First, there is the historical record of Quintus Curtius, who describes the Raja of Taxila (the modern Shahdheri, 20miles north-west from Rawal Pindi) as offering Alexander 80 talents of coined silver (‘signati argenti’). Now what other, except these punch-marked coins could these pieces of coined silver have been? Again, the name by which these coins are spoken of in the Buddhist sutras, about 200 BCE was ‘purana’, which simply signies ‘old’, whence the General argunes that the word ‘old as applied to the indigenous ‘karsha’, was used to distinguish it from the new and more recent issues of the Greeks. Then again a mere comparison of the two classes of coins almost itself suffices to refute the idea of the Indian coins being derived from the Greek. The Greek coins present us with a portrait of the king, with his name and titles in two languages together with a great number and variety of monograms indicating, in many instances where they have been deciphered by the ingenuity and perseverance of General Cunningham and others, the names of the mint cities where the coins were struck, and it is our ignorance of the geographical names of the period that probably has prevented the whole of them receiving their proper attribution; but with the indigenous coins it is far otherwise, as they display neither king’s head, neame, titles or mongrams of any description…It is true that General Cunningham considers that many of these symbols, though not monograms in a strict sense, are nevertheless marks which indicate the mints where the coins were struck or the tribes among whom they were current, and this contention in no wise invalidates the supposition contended for by me either that the majority of them possess an esoteric meaning or have originated in other lands at a period anterior to their adoption for the purpose they fulfil on the coins in Hindustan.” (W. Theobald, 1890, Notes on some of the symbols found on the punch-marked coins of Hindustan, and on their relationship to the archaic symbolism of other races and distant lands, Journal of the Asiatic Society of Bengal, Bombay Branch (JASB), Part 1. History , Literature etc., Nos. III & IV, 1890, pp. 181 to 184)

W. Theobald, Symbols on punch-marked coins of Hindustan (1890, 1901)

http://www.scribd.com/doc/12919753/theobaldpunchmarkedsymbolshindustan

W. Theobald, 1890, Notes on some of the symbols found on the punch-marked coins of Hindustan, and on their relationship to the archaic symbolism of other races and distant lands, Journal of the Asiatic Society of Bengal, Bombay Branch (JASB), Part 1. History , Literature etc., Nos. III & IV, 1890, pp. 181 to 268, Plates VIII to XI

W. Theobald, 1901, A revision of the symbols on the ‘Karshapana’ Coinage, described in Vol. LIX, JASB, 1890, Part I, No. 3, and Descriptions of many additional symbols, Journal of the Asiatic Society of Bengal, Bombay Branch (JASB), No. 2, 1901 (Read December, 1899).

Plates VIII to XI of Theobald, 1890 listing symbols on punch-marked coins...

http://www.scribd.com/doc/12921150/Survival-of-Hieroglyphs-on-Punch-Marked-Coins

The 'symbols' which are a continuum from Indus script hieroglyphs all of which relate to metalwork are:

Meluhha glosses read rebus related to metalwork for these Indus script hieroglyphs are detailed in the book, Indus Script -- Meluhha metalwork hieroglyphs (2014).

The date 1800 BCE is significant in the context of the Ganga River valley of Indian civilization. In the sites of Dadupur, Lahuradewa, Malhar, Raja Nal-ka-tila, iron smelting activities have been attested with the remains of a smelter discovered, dated to ca. 1800 BCE. (Rakesh Tewari, 2003,The origins of iron-working in India: new evidence from the Central Ganga Plain and the Eastern Vindhyas

http://antiquity.ac.uk/ProjGall/tewari/tewari.pdf

Tewari, R., RK Srivastava & KK Singh, 2002, Excavation at Lahuradewa, Dist. Sant Kabir Nagar, Uttar Pradesh, Puratattva 32: 54-62).

Dates for early iron use from Indian sites (After Table 1. Rakesh Sinha opcit.)

Technologies used in Mehergarh (5500 - 3500 BCE) included stone and copper drills, updraft kilns, large pit kilns and copper melting crucibles.

Nageshwar: Fire altar (After Fig. 3 in Nagaraja Rao, MS, 1986).

http://asi.nic.in/nmma_reviews/Indian%20Archaeology%201983-84%20A%20Review.pdf

Large updraft kiln of the Harappan period (ca. 2400 BCE) found during excavations on Mound E Harappa, 1989 (After Fig. 8.8, Kenoyer, 2000). See: Discussion on stone structures in Dholavira: http://bharatkalyan97.blogspot.in/2014/01/meluhha-metallurgical-roots-and-spread.html

Lothal. Bead-making kiln. Rao,S.R. 1979. Lothal--A Harappan Port Town 1955-62, Vol. I. New Delhi: Archaeological Survey of India.; Rao, S.R. 1985. Lothal--A Harapan Port Town 1955-62. Vol. II. New Delhi: Archaeological Survey of India.

Harappa. Bead makers' kiln where the heat was distributed equally to all the holes. The 8-shaped stone structure indicates that this is a bead-maker's kiln. The 8-shaped stone structures with an altar or stone stool in the middle can thus be explained functionally as an anvil used by the bead makers to drill holes through beads and to forge material including metal artifacts.

Vitrified kiln walls were discovered in Harappa.

Harappa. Kiln (furnace) 1999, Mound F, Trench 43: Period 5 kiln, plan and section views.

Damaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli. (After Rakesh Sinha opcit.)

The Sindhu-Sarasvati river valley Indian civilization life-activities of metalwork thus continues into the Ganga river valley. The extension of the civilization into the third river valley of Brahmaputra (another perennial Himalayan river system) is as yet an open question subject to archaeological confirmation. The mapping of bronze age sites along the eastern and northeastern parts of India and extending into the Burma, Malay Peninsula and eastwards upto Vietnam (coterminus with the Austro-Asiatic language speaking communities along the Himalayan rivers of Irrawaddy, Salween and Mekong) point to the possibility that the transition of chalco-lithic cultures into the Bronze-iron age (or Metal Alloys age) was a continuum traceable from Mehergarh to Hanoi (Vietnam).

This continuum of metalwork as a principal life-activity (and trade) may also explain the remarkable discovery of the Bronze Age site of Ban Chiang in Thailand (dated to early 2nd millennium BCE). It should be noted that the site of Ban Chiang is proximate to the largest reserves of Tin (cassiterite) ore in the world which stretched along a massive mineral resource belt in Malay Peninsula into the Northeast India (Brahmaputra river valley). The chronological sequencing of metalworking with tin is an archaeometallurgical challenge which archaeologists and metallurgicals have to unravel in a multi-disciplinary endeavour.

The exploration metalwork in the in Northeastern India, in Brahmaputra river valley can relate to the remarkable fire-altar discovered in Uttarakashi:

Syena-citi: A Monument of Uttarkashi Distt. Fire-altar shaped like a falcon.
Excavated site (1996): Purola Geo-Coordinates-Lat. 30° 52’54” N Long. 77° 05’33” E "The ancient site at Purola is located on the left bank of river Kamal. The excavation yielded the remains of Painted Grey Ware (PGW) from the earliest level along with other associated materials include terracotta figurines, beads, potter-stamp, the dental and femur portions of domesticated horse (Equas Cabalus Linn). The most important finding from the site is a brick alter identified as Syenachiti by the excavator. The structure is in the shape of a flying eagle Garuda, head facing east with outstretched wings. In the center of the structure is the chiti is a square chamber yielded remains of pottery assignable to circa first century B.C. to second century AD. In addition copper coin of Kuninda and other material i.e. ash, bone pieces etc and a thin gold leaf impressed with a human figure tentatively identified as Agni have also been recovered from the central chamber.Note: Many ancient metallic coins (called Kuninda copper coins) were discovered at Purola. cf. Devendra Handa, 2007, Tribal coins of ancient India, ISBN: 8173053170, Aryan Books International."

See: http://bharatkalyan97.blogspot.in/2011/11/syena-orthography.html

http://bharatkalyan97.blogspot.in/2015/03/x.html?q=a+temple+at+sanchi

Glosses linked to zinc, pewter

तुत्थ tuttha [p= 450,2] n. (m. L. ) blue vitriol (used as an eye-ointment) Sus3r.; fire;n. a rock Un2. k. (Monier-Williams) upadhātuḥ उपधातुः An inferior metal, semi-metal. They are seven; सप्तोपधातवः स्वर्णं माक्षिकं तारमाक्षिकम् । तुत्थं कांस्यं च रातिश्च सुन्दूरं च शिलाजतु ॥ (Apte. Samskritam) Ta. turu rust, verdigris, flaw; turucu, turuci blue vitriol, spot, dirt, blemish, stain, defect, rust; turicu fault, crime, sorrow, affliction, perversity, blue vitriol; tukku, tuppu rust. Ma. turiśu blue vitriol; turumpu, turuvu rust. Ka. tukku rust of iron; tutta, tuttu, tutte blue vitriol. Tu. tukků rust; mair(ů)suttu, (Eng.-Tu. Dict.) mairůtuttu blue vitriol. Te. t(r)uppu rust; (SAN) trukku id., verdigris. / Cf. Skt.tuttha- blue vitriol; Turner, CDIAL, no. 5855 (DEDR 3343). tutthá n. (m. lex.), tutthaka -- n. ʻ blue vitriol (used as an eye ointment) ʼ Suśr., tūtaka -- lex. 2. *thōttha -- 4. 3. *tūtta -- . 4. *tōtta -- 2. [Prob. ← Drav. T. Burrow BSOAS xii 381; cf. dhūrta -- 2 n. ʻ iron filings ʼ lex.]1. N. tutho ʻ blue vitriol or sulphate of copper ʼ, B. tuth.2. K. thŏth, dat. °thas m., P. thothā m.3. S. tūtio m., A. tutiyā, B. tũte, Or. tutiā, H. tūtā, tūtiyā m., M. tutiyā m.4. M. totā m.(CDIAL 5855) तुतिया [ tutiyā ] m ( H) Blue vitriol, sulphate of copper.तुत्या [ tutyā ] m An implement of the goldsmith.तोता [ tōtā ] m ( H) (Properly तुतिया) Blue vitriol.(Marathi) <taTia>(M),,<tatia>(P)  {N} ``metal ^cup, ^frying_^pan''.  *Ho<cele>, H.<kARahi>, Sa.<tutiA> `blue vitriol, bluestone, sulphate of copper',H.<tutIya>.  %31451.  #31231. Ju<taTia>(M),,<tatia>(P)  {N} ``metal ^cup, ^frying_^pan''.  *Ho<cele>, H.<kARahi>,Sa.<tutiA> `blue vitriol, bluestone, sulphate of copper', (Munda etyma) S توتیا totī-yā, s.f. (6th) Tutty, protoxyd of zinc. (E.) Sing. and Pl.); (W.) Pl. توتیاوي totīʿāwī. نیل توتیا nīl totī-yā, s.f. (6th) Blue vitriol, sulphate of copper. سبز توتیا sabz totī-yā, s.f. (6th) Green vitriol, or sulphate of iron.(Pashto) thŏth 1 थ्वथ् । कण्टकः, अन्तरायः, निरोध, शिरोवेष्टनवस्त्रम् m. (sg. dat. thŏthas थ्वथस्), blue vitriol, sulphate of copper (cf. nīla-tho, p. 634a, l. 26)(Kashmiri) sattu, satavu, satuvu 'pewter' (Kannada) సత్తుతపెల a vessel made of pewter ज&above;स्ति&below; । त्रपुधातुविशेषनिर्मितम्  jasth जस्थ । त्रपु m. (sg. dat. jastas जस्तस्), zinc, spelter; pewter. jastuvu जस्तुवु&below; । त्रपूद्भवः adj. (f. jastüvü जस्त&above;वू&below;), made of zinc or pewter. zasath ज़स््थ् or zasuth ज़सुथ् । त्रपु m. (sg. dat. zastas ज़स्तस्), zinc, spelter, pewter (cf. Hindī jast).(Kashmiri) س jas, s.m. (6th) Pewter. Sing. and Pl. See also HI جست jast, s.m. (6th) Pewter. Sing. and Pl. . (P) jastaʿh, Pewter, Pl. يْ ey.(Pashto) खर्परसूत्र (p. 199) [ kharparasūtra ] n S A factitious metal, a sort of pewter. खापरसूत (p. 205) [ khāparasūta ] n (खर्परसूत्र S) A factitious metal, a sort of pewter.जस्त (p. 311) [ jasta ] n ( H) A coarse kind of pewter, Spelter or Tutanag.जस्तफूल or जस्ताचें फूल (p. 311) [ jastaphūla or jastācē mphūla ] n Pewter puffed out like a sponge by exposure to heat.जस्ती (p. 311) [ jastī ] a (जस्त) Relating to जस्त or pewter. भटूर or भटोर (p. 598) [ bhaṭūra or bhaṭōra ] n A factitious metal (of copper, lead, and pewter &c.)भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c. 2 Green carbonate of lime. सुरई (p. 861) [ surī ] f (सुरा S through or H) A goblet for cooling water. It is commonly of pewter and is long-necked.(Marathi) H جست जस्त jast, s.m. Zine, spelter; tutenag; prince's metal; pewter:—rūp-jast, s.m. Pewter:—kālā jast, s.m. A sort of blende, or sulphuret of zinc.  H جستي जस्ती jastī [jast, q.v.+ई(इन्)+कः], adj. Of, or made of, zinc, or pewter; pewter. H رانگ 
रांग rāng [S. रङ्गं], s.f. = H رانگا रांगा rāṅgā [S. रङ्ग+कं], s.m. Pewter; tin:—rāṅg-bharā, s.m. A maker of pewter toys, a toyman (=rang-bhariyā):—rāṅg honā, v.n. To be melted or liquefied; (fig.) to fall or deteriorate in value.A رصاص raṣāṣ (v.n. fr. رصّ 'to stick or join together'), s.m. Lead; pewter; tin.A رصاص raṣṣāṣ (v.n. fr. رصّ; see raṣāṣ), s.m. A seller of lead; a worker in lead and pewter, a tinman.H روپ रूप rūp [Prk. रुप्पं; S. रूप्यं], s.m. Silver (=rūpā); base silver:—rūp-jast, s.m. Mixed metal, a metal composed of quicksilver, tin, and lead (of which ḥuqqa bottoms, &c. are made); pewter:—rūp-ras, s.m. Killed or calcined silver.(Urdu) কংস, কংশ (p. 0192) [ kaṃsa, kaṃśa ] n bell metal—an alloy of copper and tin, pewter; a vessel of bell metal. রূপ (p. 0916) [ rūpa ]  ̃দস্তা n. pewter, white metal; German silver. (Bengali) rūḥi tutiyā, Mercury; a sort of pewter; wine;--rūḥi ḥayātī, The vital spirit A قردیر qazdīr, Tin, 
pewter.G قسطیر qist̤īr, Tin, pewter.شیر kafshīr, Solder; borax; lead, tin, pewter;--kafshīr kardan, To solder;--kafshīr giriftan (paẕīruftan), To be sol- dered, closed up, united; to heal.(Persian)
See: http://bharatkalyan97.blogspot.in/2015/08/indus-script-deciphered-squirrel.html Annex: Zinc and Brass in Archaeological Perspective Authors: J. Kharakwal, L. Gurjar










dhatu garbha 'inner sanctum sanctorum'; dagoba (Pali)Dhātu ghara "house for a relic," a dagoba SnA 194. - cetiya a shrine over a relic DhA iii.29 (Pali)Cetiya (nt.) [cp. from ci, to heap up, cp. citi, cināti] 1. a tumulus, sepulchral monument, cairn, M i.20; Dh 188; J i.237; vi.173; SnA 194 (dhātu -- gharaŋ katvā cetiyaŋ patiṭṭhāpesuŋ); KhA 221; DhA iii.29 (dhātu˚); iv. 64; VvA 142; Sdhp 428, 430. Pre -- Buddhistic cetiyas mentioned by name are Aggāḷava˚ Vin ii.172; S i.185; Sn p. 59; DhAiii.170; Ānanda˚ D ii.123, 126; Udena˚ D ii.102, 118; iii.9; DhA iii.246; Gotama (ka)˚ ibid.; Cāpāla˚ D ii.102, 118; S v.250; Ma -- kuṭabandhana˚ D ii.160; Bahuputta˚ D ii.102, 118; iii.10; S ii.220; A iv.16; Sattambaka˚ D ii.102, 118; Sārandada D ii.118, 175; A iii.167; Supatiṭṭha˚ Vin i.35.- angaṇa the open space round a Cetiya Miln 366; Vism 144, 188, 392; DA i.191, 197; VvA 254. -- vandanā Cetiya worship Vism 299.(Pali)




Hieroglyph: bushy tree: Ta. ceṭi shrub, bush; (-pp-, -tt-) to grow bushy, shoot out (as sprays, foliage). Ma. ceṭi shrub, small tree. Ko. giṛv plant; gevḍ thick bushy tree; gevḍ va·lm bushy tail (of peacock, wild dog). To. kïḍf shrub. Ka. giḍa, giḍu, ceṭṭu plant as of chili, brinjal, pulse, shrub, small tree, tree in general; siḍumbu, siḍumbe a (thorny) tree, bush, thicket. Koḍ.giḍa plant. Tu. giḍa shrub. Te. ceṭṭu tree, plant, bush, creeper. Kol. (Kin.) seṭṭ, ceṭṭ bush, small tree. Nk. śeṭṭ tree. Nk. (Ch.) seṭ(ṭ), saṭṭ tree. Go. (Ko.) kaṭṭa, (Mu.) gaṭṭa shrub, small tree (Voc. 475). Malt. kiṛu a young plant. (DEDR 1941)





Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: portion of vedika, including end pillar, portion of carved in relief with narrative and devotional scenes


Locator Info. of Photo: 2nd section from the left


Photo Orientation: overviewDynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: sandstone


Architecture: structural


Dimensions: H - ca. 300.00 cm


Current Location: Indian Museum, Calcutta, West Bengal, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1970


Scan Number: 0004661






Zoom: Scan 4690. A semi roundel. Holds a twig on his hand.









Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: "exterior" portion of vedika


Locator Info. of Photo: 2nd section from the left


Photo Orientation: overview



Dynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: brown sandstone


Architecture: structural



Current Location: Indian Museum, Calcutta, West Bengal, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1970


Scan Number: 0004690





Zoom: veneration of stupa. Scan 4660. Three lions on a pillar, tree. Two persons, tree. Parasols flanked by safflowers.





Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: portion of vedika carved in relief with devotional scenes and auspicious figures


Photo Orientation: end view





Dynasty/Period: Sunga




Date: ca. 100-80 BCE, 100 BCE - 80 BCE





Material: purple sandstone


Architecture: structural


Dimensions: H - ca. 300.00 cm


Current Location: Indian Museum, Calcutta, West Bengal, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1970


Scan Number: 0004660






Zoom Scan 4659 Veneration of tree. Face within temple arch. Flanked by hieroglyphs of two ox-hide ingots




Zoom Scan 4659 Veneration of tree. Flanked by elephants. Multi-hooded snake and faces on the field.





Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: portion of vedika carved in relief with narrative and devotional scenes


Locator Info. of Photo: 2nd section from the left


Photo Orientation: back side





Dynasty/Period: Sunga




Date: ca. 100-80 BCE, 100 BCE - 80 BCE





Material: purple sandstone


Architecture: structural


Dimensions: H - ca. 300.00 cm


Current Location: Indian Museum, Calcutta, West Bengal, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1970


Scan Number: 0004659




Photograph of some sculpture pieces excavated from the stupa at Bharhut taken by Joseph David Beglar in 1874. It shows a close view of the east gateway with the first three pillars of the rail and coping. The date that a stupa was first erected at this site is not known, however, by the time the gateways were added in the early part of the first century BC, Bharhut had been established as a Buddhist place of worship for centuries. At this stage, the stupa complex consisted of a hemispherical dome, encircled by an inner and an outer railing or vedika which was added in the latter part of the second century BC. This was made up of rectangular stone posts (stambha) joined together by three sets of cross-bars (suchi) mortised into the pillars on either side and capped by a huge coping (ushnisha). The railing had openings in each of the four cardinal directions and therefore consisted of 4 quadrants of 16 pillars each. The pillars of the railing were ornamented by a medallion in the middle and by half medallions at the top and the bottom, elaborately carved with sculptures mainly representing scenes from the life of Buddha and lotuses. About half a century after the addition of the railing, its openings were adorned with the addition of gateways like the one pictured.





Shalabhanjika




Bharhut, c. 100 BC 


Indian Museum, Calcutta




Grasping the tree in this time-honored pose is a shalabhanjika, one of several from Bharhut. The yakshi who grasps, kicks, or twines herself around a tree is a symbol of fruitfulness, like the dryads of ancient Greek mythology, and a similar pose is often used in scenes of Maya giving birth to the Buddha, who emerges from her side.





Greek Warrior




Bharhut, c. 100 BC 


Indian Museum, Calcutta




The Greeks were evidently known at this date to people in the middle of India; here, a Greek warrior has been coopted into the role of dvarapala. The evidence includes his hairstyle, tunic, and boots. In his right hand he holds a grape plant (closeup), emblematic of his origin. The sheath of his broadsword (closeup) is decorated with a nandipada. The warrior stands with his feet turned out, like First Position in classical ballet (compare: sideways-pointing feet in SE Asia).









Zoom: 52996 Standard carried by horse-rider. In Indian tradition, kinnara is a celestial musician. Possibly, the s'ankha shown as a mollusc on the standard is a semantic reinforcement of the s'ankha as a trumpet.





Procession on Horseback




Bharhut, c. 100 BC 


Indian Museum, Calcutta




Continuing the procession seen on the previous page, a princely figure on horseback is holding a royal standard that is topped (closeup) by the figure of a kinnara. The riders on this are very large relative to their mounts, probably to highlight their importance.






Site Name: Bharhut


Monument: Bharhut vedika


Alternate Name: Railing from the stupa at Bharhut


Subject of Photo: Figure on horseback


Locator Info. of Photo: Vedika pillar, overview



Dynasty/Period: Sunga


Date: 100-80 BCE, 100 BCE - 80 BCE



Material: red sandstone


Architecture: structural


Dimensions: H - ca. 300.00 cm


Current Location: Indian Museum, Calcutta, West Bengal, India



Copyright Holder: Huntington, John C. and Susan L.


Scan Number: 0052996






Scan Number: 0004771 Standard carried by a person on horseback. Sankha?






Zoom: Standard carried by a person on horseback



Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: vedika pillar with a male figure seated with a standard on a horse


Locator Info. of Photo: 13th section from the left, back side


Photo Orientation: view of upper portion



Dynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: brown sandstone


Architecture: structural


Dimensions: H - ca. 300.00 cm


Current Location: Indian Museum, Calcutta, West Bengal, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1970


Scan Number: 0004771










Site Name: Bharhut


Monument: Bharhut stupa


Alternate Name:


Subject of Photo: roundel from a vedika pillar with relief of puja of a tree shrine


Photo Orientation: detail



Related Archive items: 



section of a vedika pillar with relief of male and female figures sanding upon nagas




Iconography: devotional scene


Dynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: brown sandstone


Architecture: structural



Current Location: Indian Museum, Calcutta, West Bengal, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1970


Scan Number: 0004715






Site Name: Bharhut


Monument: Bharhut stupa


Alternate Name:


Subject of Photo: section of a vedika pillar with relief of male and female figures sanding upon nagas


Photo Orientation: detail



Related Archive items: 



roundel from a vedika pillar with relief of puja of a tree shrine




Dynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: brown sandstone


Architecture: structural



Current Location: Indian Museum, Calcutta, West Bengal, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1970


Scan Number: 0004714






Zoom. Scan 4705. Square coins of the mint are shown between two elephant riders on the right. Hieroglyphs: ibha 'elephant' rebus: ib 'iron'. dATu 'cross' Rebus: dhatu 'mineral ore'. A profile of mints if presented on this relief. Hieroglyph: muh 'face' Rebus: muhe 'ingot'. Hieroglyph: kUTa 'parasol' Rebus: kuThi 'smelter'.





Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: relief panel on pillar on "interior" of vedika


Locator Info. of Photo: interior of vedika, 1st pillar from the left


Photo Orientation: detail of 2nd scene from top



Related Archive items: 



relief panel on pillar on "interior" of vedika




Dynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: brown sandstone


Architecture: structural



Current Location: Indian Museum, Calcutta, West Bengal, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1970


Scan Number: 0004705






Zoom: Scan 4706. Hieroglyph: kuTi 'twig' Rebus: kuThi 'smelter' Hieroglyph: muh 'face' Rebus: muhe 'ingot'.






Scan Number: 0004706





Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: relief panel on pillar on "interior" section of vedika carved in relief with narrative scenes


Locator Info. of Photo: interior side of vedika, 2nd pillar from the left


Photo Orientation: detail of scene third from top



Related Archive items: 



relief panel on pillar on "interior" section of vedika carved in relief with narrative scenes

relief panel on pillar on "interior" section of vedika carved in relief with narrative scenes




Dynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: brown sandstone


Architecture: structural



Current Location: Indian Museum, Calcutta, West Bengal, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1970


Scan Number: 0004708







Zoom:


Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: carved railing pillar with roundel


Photo Orientation: overview of pillar, side 2 (opposite side 1)



Related Archive items: 



carved railing pillar with roundel

carved railing pillar with roundel

carved railing pillar with roundel




Dynasty/Period: Sunga


Date: ca. second to first centuries BCE, 200 BCE - 1 BCE



Material: stone


Architecture: structural


Dimensions: H - ca. 72.00 in


Current Location: National Museum, New Delhi, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1969


Scan Number: 0000124




Zoom:


Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: carved railing pillar with roundel


Photo Orientation: view of pillar, side 2 (opposite side 1)



Related Archive items: 



carved railing pillar with roundel

carved railing pillar with roundel

carved railing pillar with roundel




Dynasty/Period: Sunga


Date: ca. second to first centuries BCE, 200 BCE - 1 BCE



Material: stone


Architecture: structural


Dimensions: H - ca. 72.00 in


Current Location: National Museum, New Delhi, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1969


Scan Number: 0000125





Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: roundel, with the Timingala jataka scene


Photo Orientation: front, overview



Iconography: Timingala Jataka


Dynasty/Period: Sunga


Date: ca. second century BCE, 200 BCE - 101 BCE



Material: purple sandstone


Dimensions: H - ca. 20.00 in


Current Location: Bharat Kala Bhavan, Varanasi, Uttar Pradesh, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1969


Scan Number: 0001737







Site Name: Madhya Pradesh


Monument: Bharhut railing


Subject of Photo: roundel depicting Timingala jataka



Iconography: Timingala Jataka


Dynasty/Period: Sunga


Date: , 200 BCE - 100 CE



Material: stone


Architecture: structural



Current Location: Bharat Kala Bhavan, Varanasi, Uttar Pradesh, India



Copyright Holder: Huntington, John C. and Susan L.


Scan Number: 0011596





Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: lintel carved with a lotus motif (Alternative reading: Dotted circles motif)


Photo Orientation: front, overview



Dynasty/Period: Sunga



Material: purple sandstone


Dimensions: H - ca. 18.00 in


Current Location: Allahabad Municipal Museum, Allahabad, Uttar Pradesh, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1969


Scan Number: 0001406





Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: pillar carved in relief


Photo Orientation: front, overview



Dynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: purple sandstone


Dimensions: H - ca. 48.00 in


Current Location: Allahabad Municipal Museum, Allahabad, Uttar Pradesh, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1969


Scan Number: 0001411





Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: lintel fragment with elephant carved in relief


Photo Orientation: front, overview



Iconography: elephant


Dynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: purple sandstone


Dimensions: H - ca. 20.00 in


Current Location: Allahabad Municipal Museum, Allahabad, Uttar Pradesh, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1969


Scan Number: 0001414





Site Name: Bharhut


Monument: Bharhut stupa


Alternate Name:


Subject of Photo: pillar fragment, with a gana and lotus motif


Photo Orientation: front, overview



Dynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: purple sandstone


Dimensions: H - ca. 36.00 in


Current Location: Allahabad Municipal Museum, Allahabad, Uttar Pradesh, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1969


Scan Number: 0001420





Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: pillar fragment with figures carved in relief


Photo Orientation: front, overview



Related Archive items: 



pillar fragment, with figures carved in relief




Dynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: purple sandstone


Dimensions: H - ca. 30.00 in


Current Location: Allahabad Municipal Museum, Allahabad, Uttar Pradesh, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1969


Scan Number: 0001422







Site Name: Bharhut


Monument: Bharhut stupa vedika


Alternate Name:


Subject of Photo: roundel with male face in a lotus


Photo Orientation: front side of roundel, overview



Related Archive items: 



roundel with male face in a lotus




Dynasty/Period: Sunga


Date: ca. 100-80 BCE, 100 BCE - 80 BCE



Material: purple sandstone


Dimensions: H - ca. 24.00 in


Current Location: Allahabad Municipal Museum, Allahabad, Uttar Pradesh, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1969


Scan Number: 0001421











Zoom: An archer, an elephant, a tree, a gandharva Scan Number: 0000126






Zoom:


Site Name: Bharhut


Monument: Bharhut stupa


Subject of Photo: carved railing pillar with roundel


Photo Orientation: overview of pillar, side 1 (arbitrary)



Related Archive items: 



carved railing pillar with roundel

carved railing pillar




Dynasty/Period: Sunga


Date: ca. second to first centuries BCE, 200 BCE - 1 BCE



Material: stone


Dimensions: H - ca. 84.00 in


Current Location: National Museum, New Delhi, India



Copyright Holder: Huntington, John C. and Susan L.


Photo Year: 1969


Scan Number: 0000127

Abb.: Der Mahbodhi-Baum Koṇāgamana's, Bharhut, 150/100 v. Chr. (Mahabodhi tree of Koṇāgamana)

http://www.payer.de/mahavamsa/chronik15.htm

Relief from the Stupa of Bharhut, Buddhist monument, Madhya Pradesh, India. Indian Civilisation, 2nd century BC. Calcutta, Indian Museum (Archaeological And Art Museum).

Country: India

Alternate Name: Bharhut stupa, vedika, detail of lower portion

Alternate Name: roundel, triratna

Dynasty/Period: Sunga

Material: sandstone

Dimensions: H - 44.50 in

Current Location: Allahabad Municipal Museum, Allahabad, Uttar Pradesh, India

Photo Year: 1984

Scan Number: 0011535

roundel architectural fragment with carved relief of figures and animals

Site Name: Bharhut

Monument: roundel

Subject of Photo: roundel architectural fragment with carved relief of figures and animals

Locator Info. of Photo: front

Photo Orientation: overview

Date: ca. second century BCE, 185 BCE - 72 BCE

Material: stone

Current Location: National Museum, New Delhi, India

Copyright Holder: Huntington, John C. and Susan L.

Scan Number: 0021391

Bharhut hieroglyphs. Alexander Cunningham, London, 1879

Cakra torana. Sanchi. In early art there was no depiction of the Buddha, Jaina Tirthankaras or Hindu divinities. Thoughts on dharma and life-activities were conveyed through picture-words










MAR




26








Consecrating Lohapasada -- Mahavamsa. Lotuses and tree shrine hieroglyphs on Bharhut reliefs. Copper, tin and other metalwork of Bharhut.

Section 4. Svastika, Indus Script hieroglyph multiplex hypertext signifying 'zinc, spelter, pewter alloy'

Thomas Wilson curator of US National Museum had in 1894 presented a remarkable Annual Report on Swastika symbol and its migrations. This work is advanced further with the Indus Script decipherment of the Meluhha glosses: sattva 'glyph' Rebus:sattu, satavu, satuvu 'pewter' (Kannada) In the context of archaeometallurgical indicators, the svastika hieroglyph multiplex seems to have connoted an alloying process of zinc with other minerals to create pewter or brasses of various kinds. Svastika hypertexts appear in remarkable contexts of Indus Script Corpora which help prove the early significance of this hieroglyph related to metalcasters and turners' work involving creation of new alloys during the Bronze Age.

Focus of this note is on one hieroglyph: svastika evidenced on Indus Script Corpora and deriving the semantics of the hieroglyph and rebus-metonymy rendering in Indus Script cipher.

Svastika hieroglyph multiplex is a remarkable hypertext of Indus Script Corpora, which signify catalogus catalogorum of metalwork.

Svastika signifies zinc metal, spelter. This validates Thomas Wilson's indication --after a wide-ranging survey of migrations of the hieroglyph across Eurasia and across continents -- that svastika symbol connoted a commodity, apart from its being a hieroglyph, a sacred symbol in many cultures.

"Spelter, while sometimes used merely as a synonym for zinc, is often used to identify a zinc alloy. In this sense it might be an alloy of equal parts copper and zinc, i.e. a brass, used for hard soldering and brazing, or as an alloy, containing lead, that is used instead of bronze."
https://en.wikipedia.org/wiki/Spelter

Hieroglyph: sattva 'svastika' glyph Rebus: sattu, satavu, satuvu 'pewter' (Kannada) సత్తుతపెల a vessel made of pewter ज&above;स्ति&below; । त्रपुधातुविशेषनिर्मितम्  jasth जस्थ । त्रपु m. (sg. dat. jastas जस्तस्), zinc, spelter; pewter.


मेढा  [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. 3 A twist or tangle arising in thread or cord, a curl or snarl.(Marathi) Rebus: meḍ 'iron, copper' (Munda. Slavic)


dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’




The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha brass (i.e. alloy of copper + zinc). Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथ् ।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ् ज़स््थ् ्or zasuth ज़सुथ ्। रप m. (sg. dat. zastas ु ज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter).





*ṭhaṭṭha1 ʻbrassʼ. [Onom. from noise of hammering brass?]N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 1.Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H.ṭhaṭherā m.(CDIAL 5491, 5493).






h182A, h182B




The drummer hieroglyph is associated with svastika glyph on this tablet (har609) and also on h182A tablet of Harappa with an identical text.




dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’. The 'drummer' hieroglyph thus announces a cast metal. The technical specifications of the cast metal are further described by other hieroglyphs on side B and on the text of inscription (the text is repeated on both sides of Harappa tablet 182).






kola 'tiger' Rebus: kol 'alloy of five metals, pancaloha' (Tamil). ḍhol ‘drum’ (Gujarati.Marathi)(CDIAL 5608) Rebus: large stone; dul ‘to cast in a mould’. Kanac ‘corner’ Rebus: kancu ‘bronze’. dula 'pair' Rebus: dul 'cast metal'. kanka ‘Rim of jar’ (Santali); karṇaka  rim of jar’(Skt.) Rebus:karṇaka ‘scribe’ (Telugu); gaṇaka id. (Skt.) (Santali) Thus, the tablets denote blacksmith's alloy cast metal accounting including the use of alloying mineral zinc -- satthiya 'svastika' glyph.








A Gold Rhyton with two tigers;  svastika incised on thigh of tiger; found in historical site of Gilanhttp://www.fouman.com/Y/Image/History/Gilan_Gold_Rhyton_Lion.jpg


sattu (Tamil), satta, sattva (Kannada) jasth जसथ् ।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ् ज़स््थ् ्or zasuth ज़सुथ ्। रप m. (sg. dat. zastas ु ज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter). *ṭhaṭṭha1 ʻbrassʼ. [Onom. from noise of hammering brass?]N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 1.Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H.ṭhaṭherā m.(CDIAL 5491, 5493).







The drummer hieroglyph is associated with svastika glyph on this tablet (har609) and also on h182A tablet of Harappa with an identical text.




dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’. The 'drummer' hieroglyph thus announces a cast metal. The technical specifications of the cast metal are further described by other hieroglyphs on side B and on the text of inscription (the text is repeated on both sides of Harappa tablet 182).




kola 'tiger' Rebus: kol 'alloy of five metals, pancaloha' (Tamil). ḍhol ‘drum’ (Gujarati.Marathi)(CDIAL 5608) Rebus: large stone; dul ‘to cast in a mould’. Kanac ‘corner’ Rebus: kancu ‘bronze’. dula 'pair' Rebus: dul 'cast metal'. kanka ‘Rim of jar’ (Santali); karṇaka  rim of jar’(Skt.) Rebus:karṇaka ‘scribe’ (Telugu); gaṇaka id. (Skt.) (Santali) Thus, the tablets denote blacksmith's alloy cast metal accounting including the use of alloying mineral zinc -- satthiya 'svastika' glyph.




See: http://bharatkalyan97.blogspot.in/2014/12/ancient-near-east-meluhha-metalwork.html









The distinction between pictorial motifs and signs gets blurred in many compositions presented in the script inscriptions.


Thus, a svastika  appears together with an elephant or a tiger The 'svastika' is a  pictorial and also a sign--Sign 148




Mohejodaro, tablet in bas relief (M-478)


m0478B tablet erga = act of clearing jungle (Kui) [Note image showing two men carrying uprooted trees].




Aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). Aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali) ḍhaṁkhara — m.n. ʻbranch without leaves or fruitʼ (Prakrit) (CDIAL 5524)


•era, er-a = eraka = ?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.)


•era_ = claws of an animal that can do no harm (G.)


•era female, applied to women only, and generally as a mark of respect, wife; hopon era a daughter; era hopon a man’s family; manjhi era the village chief’s wife; gosae era a female Santal deity; bud.hi era an old woman; era uru wife and children; nabi era a prophetess; diku era a Hindu woman (Santali)




•Rebus: er-r-a = red; eraka = copper (Ka.) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) erako molten cast (Tu.lex.)  agasa_le, agasa_li, agasa_lava_d.u = a goldsmith (Te.lex.)


 Hieroglyph: Looking back: krammara 'look back' (Telugu) kamar 'smith, artisan' (Santali)




erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); 






^  Inverted V, m478 (lid above rim of narrow-necked jar)


The rimmed jar next to the tiger with turned head has a lid. Lid ‘ad.aren’; rebus: aduru ‘native metal’




karnika 'rim of jar' Rebus: karni 'supercargo' (Marathi) Thus, together, the jar with lid composite hieroglyhph denotes 'native metal supercargo'.




kuTi 'tree' Rebus: kuṭhi = (smelter) furnace (Santali) 


eraka, hero = a messenger; a spy (G.lex.) kola ‘tiger, jackal’ (Kon.); rebus: kol working in iron, blacksmith, ‘alloy of five metals, panchaloha’ (Tamil) kol ‘furnace, forge’ (Kuwi) kolami ‘smithy’ (Te.) heraka = spy (Skt.); er to look at or for (Pkt.); er uk- to play 'peeping tom' (Ko.) Rebus: eraka ‘copper’ (Ka.) kōṭu  branch of tree, Rebus: खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. 




karn.aka = handle of a vessel; ka_n.a_, kanna_ = rim, edge; 


kan.t.u = rim of a vessel; kan.t.ud.iyo = a small earthen vessel


kan.d.a kanka = rim of a water-pot; kan:kha, kankha = rim of a vessel




svastika pewter (Kannada); jasta = zinc (Hindi) yasada (Jaina Pkt.)


karibha 'trunk of elephant' ibha 'elephant' Rebus: karba 'iron' (Tulu)


kola 'tiger' Rebus: kol 'working in iron' krammara 'turn back' Rebus: kamar 'smith'


heraka 'spy' Rebus: eraka 'moltencast, copper'


meDha 'ram' Rebus: meD 'iron' (Mu.Ho)


bAraNe ' an offering of food to a demon' (Tulu) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin) (Punjabi. Bengali) bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)


saman 'make an offering (Santali) samanon 'gold' (Santali)


minDAl 'markhor' (Torwali) meDho 'ram' (Gujarati)(CDIAL 10120) Rebus: me~Rhet, meD 'iron' (Mu.Ho.Santali)


heraka 'spy' (Samskritam) Rebus:eraka 'molten metal, copper'


maNDa 'branch, twig' (Telugu) Rebus: maNDA 'warehouse, workshop' (Konkani)\karibha, jata kola Rebus: karba, ib, jasta, 'iron, zinc, metal (alloy of five metals)


maNDi 'kneeling position' Rebus: mADa 'shrine; mandil 'temple' (Santali)

http://www.gutenberg.org/files/40812/40812-h/images/img196.jpg

Fig. 183. (After T. Wilson opcit)

HUT URN IN THE VATICAN MUSEUM.

“Burning altar” mark associated with

Swastikas. Etruria (Bronze Age). "They belonged to the Bronze Age, and antedated the Etruscan civilization. This was demonstrated by the finds at Corneto-Tarquinii. Tombs to the number of about 300, containing them, were found, mostly in 1880-81, at a lower level than, and were superseded by, the Etruscan tombs. They contained the weapons, tools, and ornaments peculiar to the Bronze Age—swords, hatchets, pins, fibulæ, bronze and pottery vases, etc., the characteristics of which were different from Etruscan objects of similar purpose, so they could be satisfactorily identified and segregated. The hut urns were receptacles for the ashes of the cremated dead, which, undisturbed, are to be seen in the museum. The vases forming part of this grave furniture bore the Swastika mark; three have two Swastikas, one three, one four, and another no less than eight." (T. Wilson opcit p.857)

http://www.gutenberg.org/files/40812/40812-h/images/img188.jpg

Fig. 175. (After T Wilson opcit)

DETAIL OF ARCHAIC

BŒOTIAN VASE.

Serpents, crosses, and

Swastikas (normal, right,

left, and meander).

Goodyear, “Grammar of

the Lotus,” pl. 60, fig. 9

http://www.gutenberg.org/files/40812/40812-h/images/img187.jpg

Fig. 174. (After T Wilson opcit)

ARCHAIC GREEK VASE WITH FIVE SWASTIKAS OF FOUR DIFFERENT FORMS.

Athens. Birch, “History of Ancient Pottery,” quoted by Waring in

“Ceramic Art in Remote Ages,” pl. 41, fig. 15; Dennis, “The

Cities and Cemeteries of Etruria,” i, p. 91. "The Swastika comes from India as an ornament in form of a cone (conique) of metal, gold, silver, or bronze gilt, worn on the ears (see G. Perrot: “Histoire de l’Art,” iii, p. 562 et fig. 384), and nose-rings (see S. Reinach: “Chronique d’Orient,” 3^e série, t. iv, 1886). I was the first to make known the nose-ring worn by the goddess Aphrodite-Astarte, even at Cyprus. In the Indies the women still wear these ornaments in their nostrils and ears. The fellahin of Egypt also wear similar jewelry; but as Egyptian art gives us no example of the usage of these ornaments in antiquity, it is only from the Indies that the Phenicians could have borrowed them. The nose-ring is unknown in the antiquity of all countries which surrounded the island of Cyprus." (p.851, T Wildon opcit)

"The Swastika has been discovered in Greece and in the islands of the Archipelago on objects of bronze and gold, but the principal vehicle was pottery; and of these the greatest number were the painted vases. It is remarkable that the vases on which the Swastika appears in the largest proportion should be the oldest, those belonging to the Archaic period. Those already shown as having been found at Naukratis, in Egypt, are assigned by Mr. Flinders Petrie to the sixth and fifth centuries B. C., and their presence is accounted for by migrations from Greece." (p.839 T Wilson opcit)

"Whatever else the sign Swastika may have stood for, and however many meanings it may have had, it was always ornamental. It may have been used with any or all the above significations, but it was always ornamental as well. The Swastika sign had great extension and spread itself practically over the world, largely, if not entirely, in prehistoric times, though its use in some countries has continued into modern times." (T. Wilson, p.772)

http://www.gutenberg.org/files/40812/40812-h/images/img179.jpg

Fig. 166. (After T Wilson opcit)

CYPRIAN VASE WITH SWASTIKAS AND FIGURES OF BIRDS.

Perrot and Chipiez, “History of Art in Phenicia and Cyprus,” II, p. 300, fig. 237;

Goodyear, “Grammar of the Lotus,” pl. 48, figs. 6, 12; Cesnola, “Cyprus, its

Ancient Cities, Tombs, and Temples,” Appendix by Murray, p. 412, pl. 44, fig. 34.

http://www.gutenberg.org/files/40812/40812-h/images/img171.jpg

Fig. 158. (After T Wilson opcit)

CYPRIAN VASE WITH LOTUS AND

SWASTIKAS AND FIGURE OF BIRD.

Metropolitan Museum of Art, New York City.

Goodyear, “Grammar of the Lotus,” pl. 60, fig. 15.

http://www.gutenberg.org/files/40812/40812-h/images/img191.jpg

Fig. 178.(After T Wilson opcit)

CYPRIAN VASE WITH FIGURES OF

BIRDS AND SWASTIKA IN PANEL.

Musée St. Germain. Ohnefalsch-Richter, Bull.

Soc. d’Anthrop., Paris, 1888, p. 674, fig. 6.

http://www.gutenberg.org/files/40812/40812-h/images/img214.jpg (After Fig. 201, T. Wilson, p.864)Spearhed with svastika (croix swasticale) and triskelion. Brandenburg. Germany. Waring, 'Ceramic art in remote age,' p. 44. fig. 21 and 'Viking age' I, fig. 336

http://www.gutenberg.org/files/40812/40812-h/images/img215.jpg

Fig. 202 (T. Wilson opcit).

BRONZE PIN WITH SWASTIKA, POINTILLÉ,

FROM MOUND IN BAVARIA.

Chantre, Matériaux pour l’Histoire Primitive

et Naturelle de l’Homme, 1854, pp. 14, 120.

http://www.gutenberg.org/files/40812/40812-h/images/img228.jpg After Fig. 220 (T. Wilson opcit.) Stone altar with svastika on pedestal. France museum of Toulouse De Mortillet. 'Musee Prehistorique', fig. 1267

http://www.gutenberg.org/files/40812/40812-h/images/img239.jpg After Figs. 231 to 234 (T. Wilson, opcit.). Ancient Hindu coins with svastika, normal and ogee. Waring, 'Ceramic art in remote ages,' pl. 41, figs. 20-24
.

http://www.gutenberg.org/files/40812/40812-h/images/img240.jpg After Fig. 235 (T. Wilson opcit). Ancient coin with svastika. Gaza. Palestine. Waring 'Ceramic art in remote ages,' pl. 42, fig.6

http://www.gutenberg.org/files/40812/40812-h/images/img052.jpg

Fig. 32. (After T Wilson opcit)

FOOTPRINT OF BUDDHA WITH SWASTIKA, FROM AMARAVATI TOPE.

From a figure by Fergusson and Schliemann.

http://www.gutenberg.org/files/40812/40812-h/images/img047.jpg

Plate 5. Buffalo with Swastika on Forehead. (After T. Wilson opcit)

Presented to Emperor of Sung Dynasty.

From a drawing by Mr. Li, presented to the U. S. National

Museum by Mr. Yang Yü, Chinese Minister, Washington, D. C. "In the Chinese language the sign of the Swastika is pronounced wan, and stands for “many,” “a great number,” “ten thousand,” “infinity,” and by a synecdoche is construed to mean “long life, a multitude of blessings, great happiness,” etc.; as is said in French, “mille pardons,” “mille remercîments,” a thousand thanks, etc." (T. Wilson opcit, p.800)

The possible migrations of the Swastika, and its appearance in widely separated countries and among differently cultured peoples, afford the principal interest in this subject to archæologists and anthropologists...The Swastika was certainly prehistoric in its origin. It was in extensive use during the existence of the third, fourth, and fifth cities of the site of ancient Troy, of the hill of Hissarlik; so also in the Bronze Age, apparently during its entire existence, throughout western Europe from the Mediterranean Sea to the Arctic Ocean...Professor Sayce is of the opinion that the Swastika was a Hittite symbol and passed by communication to the Aryans or some of their important branches before their final dispersion took place, but he agrees that it was unknown in Assyria, Babylonia, Phenicia, or among the Egyptians...Whether the Swastika was in use among the Chaldeans, Hittites, or the Aryans before or during their dispersion, or whether it was used by the Brahmins before the Buddhists came to India is, after all, but a matter of detail of its migrations; for it may be fairly contended that the Swastika was in use, more or less common among the people of the Bronze Age anterior to either the Chaldeans, Hittites, or the Aryans...Looking over the entire prehistoric world, we find the Swastika used on small and comparatively insignificant objects, those in common use, such as vases, pots, jugs, implements, tools, household goods and utensils, objects of the toilet, ornaments, etc., and infrequently on statues, altars, and the like. In Armenia it was found on bronze pins and buttons; in the Trojan cities on spindle-whorls; in Greece on pottery, on gold and bronze ornaments, and fibulæ. In the Bronze Age in western Europe, including Etruria, it is found on the common objects of life, such as pottery, the bronze fibulæ, ceintures, spindle-whorls, etc. (pp. 950, 951)

Source: Wilson, Thomas, 1894, The Swastika, the earliest known symbol and its migration. Annual Report, US National Museum, pages 757-1011. Washington, DC. Govt. Printing Office. http://www.gutenberg.org/files/40812/40812-h/40812-h.htm

Thomas Wilson, Curator, Prehistoric Anthropology, US National Museum. His work on the Svastika (spelt swastika) presented in Annual Report 1894 (pp. 763 to 1011) is available at
http://www.gutenberg.org/files/40812/40812-h/40812-h.htm (Photo from an obituary written by OT Mason, 1902. After Fig. 10 in:
http://www.sil.si.edu/smithsoniancontributions/Anthropology/pdf_hi/SCtA-0048.pdf

Thomas Wilson notes in the Preface: "The principal object of this paper has been to gather and put in a compact form such information as is obtainable concerning the Swastika, leaving to others the task of adjustment of these facts and their[Pg 764] arrangement into an harmonious theory. The only conclusion sought to be deduced from the facts stated is as to the possible migration in prehistoric times of the Swastika and similar objects. No conclusion is attempted as to the time or place of origin, or the primitive meaning of the Swastika, because these are considered to be lost in antiquity. The straight line, the circle, the cross, the triangle, are simple forms, easily made, and might have been invented and re-invented in every age of primitive man and in every quarter of the globe, each time being an independent invention, meaning much or little, meaning different things among different peoples or at different times among the same people; or they may have had no settled or definite meaning. But the Swastika was probably the first to be made with a definite intention and a continuous or consecutive meaning, the knowledge of which passed from person to person, from tribe to tribe, from people to people, and from nation to nation, until, with possibly changed meanings, it has finally circled the globe." (ibid., p. 764)

In the historical periods, starting from ca. 3rd cent. BCE, some hieroglyphs of Indus Script get venerated as sacred symbols. This cultural phenomenon is explained by the occurrence -- in Jaina Ananta gumpha of Khandagiri caves -- of svastika hieroglyph together with 'lathe/furnace standard device' and 'mollusc' component in hieroglyph-multiplex variously designated by art historians as s'rivatsa/nandipada /triratna.

Why did Indus script hieroglyphs -- e.g., svastika, portable furnace, pair of fish, fish tied to a pair of molluscs, safflower, pair of fish, fish tail -- get venerated as sacred symbols, displayed on homage tablets, say, on the Jaina AyagapaTTa अयागपट्ट of Kankali Tila, Mathura, ca. 1st or 3rd century BCE?

The context is clear and unambiguous from a pair of glosses of Indian sprachbund attested in Kota language: kole.l 'smithy' kole.l 'temple'. Indus script hieroglyphs which signified products and resources of a smithy (e.g., minerals, metals, alloys, smelters, furnaces, supercargo) also signified the cosmic phenomenon held in awe by the Bharatam Janam, metlcaster folk that mere dhatu 'minerals or earth stones or sand' could upon smelting yield metal implements, and weapons. The operations in a smithy/forge became a representation of a cosmic dance. Hence, kole.l signified both a smithy and a temple.

Srivatsa with kanka, 'eyes' (Kui).

Begram ivories. Plate 389 Reference: Hackin, 1954, fig.195, no catalog N°. According to an inscription on the southern gate of Sanchi stupa,

it has been carved by ivory carvers of Vidisha.Southern Gateway panel information:West pillar Front East Face has an inscription. Vedisakehi dantakarehi rupa-kammam katam - On the border of this panel – Epigraphia Indica vol II – written in Brahmi, language is Pali – the carving of this sculpture is done by the ivory carvers of Vedisa (Vidisha). http://puratattva.in/2012/03/21/sanchi-buddham-dhammam-sangahm-5-1484

Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. Ma. kaṇ, kaṇṇu eye, nipple, star in peacock's tail, bud. Ko. kaṇ eye. To. koṇ eye, loop in string. Ka. kaṇ eye, small hole, orifice. Koḍ. kaṇṇï id. Pe. kaṇga (pl. -ŋ, kaṇku) id. Manḍ. kan (pl. -ke) id. Kui kanu (pl. kan-ga), (K.) kanu (pl. kaṛka) id. Kuwi (F.) kannū (S.) kannu (pl. kanka), (Su. P. Isr.) kanu (pl. kaṇka) id. (DEDR 1159).

śrivatsa symbol [with its hundreds of stylized variants, depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] Pl. 27, Svastika symbol: distribution in cultural periods] The association of śrivatsa with ‘fish’ is reinforced by the symbols binding fish in Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE). śrivatsa symbol seems to have evolved from a stylied glyph showing ‘two fishes’. In the Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a Jaina āyāgapaṭa, a fish is ligatured within the śrivatsa glyph, emphasizing the association of the ‘fish’ glyph with śrivatsa glyph.

(After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77)

Khandagiri caves (2nd cent. BCE) Cave 3 (Jaina Ananta gumpha). Fire-altar?, śrivatsa, svastika

(hieroglyphs) (King Kharavela, a Jaina who ruled Kalinga has an inscription dated 161 BCE) contemporaneous with Bharhut and Sanchi and early Bodhgaya.

Tree shown on a tablet from Harappa.

[Pl. 39, Savita Sharma, opcit. Tree symbol (often on a platform) on punch-marked coins; a symbol recurring on many tablets showing Sarasvati hieroglyphs].

Kushana period, 1st century C.E.From Mathura Red Sandstone 89x92cm
books.google.com/books?id=evtIAQAAIAAJ&q=In+the+image...

Ayagapatta, Kankali Tila, Mathura.

"Jain homage tablet. The tablet was set up by the wife of Bhadranadi, and it was found in December 1890 near the centre of the mound of the Jain stupa at Kankali Tila. Mathura has extensive archaeological remains as it was a large and important city from the middle of the first millennium onwards. It rose to particular prominence under the Kushans as the town was their southern capital. The B
uddhist, Brahmanical and Jain faiths all thrived at Mathura, and we find deities and motifs from all three and others represented in sculpture. In reference to this photograph in the list of photographic negatives, Bloch wrote that, "The technical name of such a panel was ayagapata [homage panel]." The figure in the centre is described as a Tirthamkara, a Jain prophet." http://www.cristoraul.com/ENGLISH/readinghall/UniversalHistory/INDIA/Cambridge/I/CHAPTER_XXVI.html
Hieroglyph: arye 'lion' Rebus: arya 'person of noble character'

cakra, cakka 'wheel' Rebus: dhamma cakka 'wheel of dharma' (Pali.Prakrit).

Wheel in Hindu, Jaina and Bauddham is a metaphor of consciousness-cosmic ordering in cyclical rythm of time and space, which is dharma-dhamma.

Vishnu Sandstone Relief From Meerut India Indian Civilization 10th Century Dharma chakra. Srivatsa. Gada.

Rebus: dhamma 'dharma' (Pali) Hieroglyphs: dām 'garland, rope':
Hieroglyphs: hangi, 'mollusc' tied to a fish: ayira 'fish' Rebus; ariya, ayira 'person of noble character'.
Hieroglyphs: hangi 'mollusc' + dām 'rope, garland' dã̄u m. ʻtyingʼ; puci 'tail' Rebus: puja 'worship'

Rebus: ariya sanghika dhamma puja 'veneration of arya sangha dharma'

Hieroglyph: Four hieroglyphs are depicted. Fish-tails pair are tied together. The rebus readings are as above: ayira (ariya) dhamma puja 'veneration of arya dharma'.

ayira 'fish' Rebus:ayira, ariya, 'person of noble character'. युगल yugala 'twin' Rebus: जुळणें (p. 323) [ juḷaṇēṃ ] v c & i (युगल S through जुंवळ) To put together in harmonious connection or orderly disposition (Marathi). Thus an arya with orderly disposition.

sathiya 'svastika glyph' Rebus: Sacca (adj.) [cp. Sk. satya] real, true D i.182; M ii.169; iii.207; Dh 408; nt. saccaŋ truly, verily, certainly Miln 120; saccaŋ kira is it really true? D i.113; Vin i.45, 60; J (Pali)

सांगाडा [ sāṅgāḍā ] m The skeleton, box, or frame (of a building, boat, the body &c.), the hull, shell, compages. 2 Applied, as Hulk is, to any animal or thing huge and unwieldy.
सांगाडी [ sāṅgāḍī ] f The machine within which a turner confines and steadies the piece he has to turn. Rebus: सांगाती [ sāṅgātī ] a (Better संगती) A companion, associate, fellow.Buddha-pada (feet of Buddha), carved on a rectangular slab. The margin of the slab was carved with scroll ofacanthus and rosettes. The foot-print shows important symbols like triratna, svastika, srivatsa,ankusa and elliptical objects, meticulously carved in low-relief. From Amaravati, Andhra Pradesh, being assignable on paleographical grounds to circa 1^st century B.C --2^nd century CE,

An ayagapata or Jain homage tablet, with small figure of a tirthankara in the centre, from Mathura

The piece is now in the Lucknow Museum.

http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/a/largeimage58906.html

An ayagapata or Jain homage tablet, with small figure of a tirthankara in the centre and inscription below, from Mathura. "Photograph taken by Edmund William Smith in 1880s-90s of a Jain homage tablet. The tablet was set up by the wife of Bhadranadi, and it was found in December 1890 near the centre of the mound of the Jain stupa at Kankali Tila. Mathura has extensive archaeological remains as it was a large and important city from the middle of the first millennium onwards. It rose to particular prominence under the Kushans as the town was their southern capital. The Buddhist, Brahmanical and Jain faiths all thrived at Mathura, and we find deities and motifs from all three and others represented in sculpture. In reference to this photograph in the list of photographic negatives, Bloch wrote that, "The technical name of such a panel was ayagapata [homage panel]." The figure in the centre is described as a Tirthamkara, a Jain prophet. The piece is now in the Lucknow Museum." http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/a/largeimage58907.html

View of the Jaina stupa excavated at Kankali Tila, Mathura.

Manoharpura. Svastika. Top of āyāgapaṭa. Red Sandstone. Lucknow State Museum. (Scan no.0053009, 0053011, 0053012 ) See: https://www.academia.edu/11522244/A_temple_at_Sanchi_for_Dhamma_by_a_k%C4%81ra%E1%B9%87ik%C4%81_sanghin_guild_of_scribes_in_Indus_writing_cipher_continuum

Ayagapata (After Huntington)

Jain votive tablet from Mathurå. From Czuma 1985, catalogue number 3. Fish-tail is the hieroglyph together with svastika hieroglyph, fish-pair hieroglyph, safflower hieroglyph, cord (tying together molluscs and arrow?)hieroglyph multiplex, lathe multiplex (the standard device shown generally in front of a one-horned young bull on Indus Script corpora), flower bud (lotus) ligatured to the fish-tail. All these are venerating hieroglyphs surrounding the Tirthankara in the central medallion.

Pali etyma point to the use of 卐 with semant. 'auspicious mark'; on the Sanchi stupa; the cognate gloss is: sotthika, sotthiya 'blessed'.

Or. ṭaü ʻ zinc, pewter ʼ(CDIAL 5992). jasta 'zinc' (Hindi) sathya, satva 'zinc' (Kannada) The hieroglyph used on Indus writing consists of two forms: 卐卍. Considering the phonetic variant of Hindi gloss, it has been suggested for decipherment of Meluhha hieroglyphs in archaeometallurgical context that the early forms for both the hieroglyph and the rebus reading was: satya.

The semant. expansion relating the hieroglyph to 'welfare' may be related to the resulting alloy of brass achieved by alloying zinc with copper. The brass alloy shines like gold and was a metal of significant value, as significant as the tin (cassiterite) mineral, another alloying metal which was tin-bronze in great demand during the Bronze Age in view of the scarcity of naturally occurring copper+arsenic or arsenical bronze.

I suggest that the Meluhha gloss was a phonetic variant recorded in Pali etyma: sotthiya. This gloss was represented on Sanchi stupa inscription and also on Jaina ayagapata offerings by worshippers of ariya, ayira dhamma, by the same hieroglyph (either clockwise-twisting or anti-clockwise twisting rotatory symbol of svastika). Linguists may like to pursue this line further to suggest the semant. evolution of the hieroglyph over time, from the days of Sarasvati-Sindhu civilization to the narratives of Sanchi stupa or Ayagapata of Kankali Tila.

स्वस्ति [ svasti ] ind S A particle of benediction. Ex. राजा तुला स्वस्ति असो O king! may it be well with thee!; रामाय स्वस्ति रावणाय स्वस्ति! 2 An auspicious particle. 3 A term of sanction or approbation (so be it, amen &c.) 4 Used as s n Welfare, weal, happiness.स्वस्तिक [ svastika ] n m S A mystical figure the inscription of which upon any person or thing is considered to be lucky. It is, amongst the जैन, the emblem of the seventh deified teacher of the present era. It consists of 卍. 2 A temple of a particular form with a portico in front. 3 Any auspicious or lucky object.(Marathi)

svasti f. ʻ good fortune ʼ RV. [su -- 2, √as1]Pa. suvatthi -- , sotthi -- f. ʻ well -- being ʼ, NiDoc. śvasti; Pk. satthi -- , sotthi -- f. ʻ blessing, welfare ʼ; Si. seta ʻ good fortune ʼ < *soti (H. Smith EGS 185 < sustha -- ). svastika ʻ *auspicious ʼ, m. ʻ auspicious mark ʼ R. [svastí -- ]Pa. sotthika -- , °iya -- ʻ auspicious ʼ; Pk. satthia -- , sot° m. ʻ auspicious mark ʼ; H. sathiyā, sati° m. ʻ mystical mark of good luck ʼ; G. sāthiyɔ m. ʻ auspicious mark painted on the front of a house ʼ.(CDIAL 13915, 13916)

Nibbānasotthi (welfare). saccena suvatthi hotu nibbānaŋ Sn 235.Sotthi (f.) [Sk. svasti=su+asti] well -- being, safety, bless ing A iii.38=iv.266 ("brings future happiness"); J i.335; s. hotu hail! D i.96; sotthiŋ in safety, safely Dh 219 (=anupaddavena DhA iii.293); Pv iv.64(=nirupaddava PvA 262); Sn 269; sotthinā safely, prosperously D i.72, 96; ii.346; M i.135; J ii.87; iii.201. suvatthi the same J iv.32. See sotthika & sovatthika. -- kamma a blessing J i.343. -- kāra an utterer of blessings, a herald J vi.43. -- gata safe wandering, prosperous journey Mhvs 8, 10; sotthigamana the same J i.272. -- bhāva well -- being, prosperity, safety J i.209; iii.44; DhA ii.58; PvA 250. -- vācaka utterer of blessings, a herald Miln 359. -- sālā a hospital Mhvs 10, 101.Sotthika (& ˚iya) (adj.) [fr. sotthi] happy, auspicious, blessed, safe VvA 95; DhA ii.227 (˚iya; in phrase dīgha˚ one who is happy for long [?]).Sotthivant (adj.) [sotthi+vant] lucky, happy, safe Vv 8452.Sovatthika (adj.) [either fr. sotthi with diaeresis, or fr. su+atthi+ka=Sk. svastika] safe M i.117; Vv 187 (=sotthika VvA 95); J vi.339 (in the shape of a svastika?); Pv iv.33 (=sotthi -- bhāva -- vāha PvA 250). -- âlankāra a kind of auspicious mark J vi.488. (Pali)

...

[quote]Cunningham, later the first director of the Archaeological Survey of India, makes the claim in: The Bhilsa Topes (1854). Cunningham, surveyed the great stupa complex at Sanchi in 1851, where he famously found caskets of relics labelled 'Sāriputta' and 'Mahā Mogallāna'. [1] The Bhilsa Topes records the features, contents, artwork and inscriptions found in and around these stupas. All of the inscriptions he records are in Brāhmī script. What he says, in a note on p.18, is: "The swasti of Sanskrit is the suti of Pali; the mystic cross, or swastika is only a monogrammatic symbol formed by the combination of the two syllables, su + ti = suti." There are two problems with this. While there is a word suti in Pali it is equivalent to Sanskrit śruti'hearing'. The Pali equivalent ofsvasti is sotthi; and svastika is either sotthiya or sotthika. Cunningham is simply mistaken about this. The two letters su + ti in Brāhmī script are not much like thesvastika. This can easily been seen in the accompanying image on the right, where I have written the word in the Brāhmī script. I've included the Sanskrit and Pali words for comparison. Cunningham's imagination has run away with him. Below are two examples of donation inscriptions from the south gate of the Sanchi stupa complex taken from Cunningham's book (plate XLX, p.449).

"Note that both begin with a lucky svastika. The top line reads 卐 vīrasu bhikhuno dānaṃ - i.e. "the donation of Bhikkhu Vīrasu." The lower inscription also ends with dānaṃ, and the name in this case is perhaps pānajāla (I'm unsure about jā). Professor Greg Schopen has noted that these inscriptions recording donations from bhikkhus and bhikkhunis seem to contradict the traditional narratives of monks and nuns not owning property or handling money. The last symbol on line 2 apparently represents the three jewels, and frequently accompanies such inscriptions...Müller [in Schliemann(2), p.346-7] notes that svasti occurs throughout 'the Veda' [sic; presumably he means the Ṛgveda where it appears a few dozen times]. It occurs both as a noun meaning 'happiness', and an adverb meaning 'well' or 'hail'. Müller suggests it would correspond to Greek εὐστική (eustikē) from εὐστώ (eustō), however neither form occurs in my Greek Dictionaries. Though svasti occurs in the Ṛgveda, svastika does not. Müller traces the earliest occurrence of svastika to Pāṇini's grammar, the Aṣṭādhyāyī, in the context of ear markers for cows to show who their owner was. Pāṇini discusses a point of grammar when making a compound using svastika and karṇa, the word for ear. I've seen no earlier reference to the word svastika, though the symbol itself was in use in the Indus Valley civilisation.[unquote]

1. Cunningham, Alexander. (1854) The Bhilsa topes, or, Buddhist monuments of central India : comprising a brief historical sketch of the rise, progress, and decline of Buddhism; with an account of the opening and examination of the various groups of topes around Bhilsa. London : Smith, Elder. [possibly the earliest recorded use of the word swastika in English].
2. Schliemann, Henry. (1880). Ilios : the city and country of the Trojans : the results of researches and discoveries on the site of Troy and through the Troad in the years 1871-72-73-78-79. London : John Murray.

http://jayarava.blogspot.in/2011/05/svastika.html

http://bharatkalyan97.blogspot.in/2015/06/deciphering-indus-script-meluhha.html

Views of Koenraad Elst and Carl Sagan on Svastika symbol

"Koenraad Elst points out that swastika had been a fairly prevalent symbol of the pre-Christian Europe and remained pretty much in vogue even until the 20th century. British troops preparing to help Finland in the war of winter 1939-40 against Soviet aggression painted swastikas, then a common Finnish symbol, on their airplanes. It was also a symbol of Austrian and German völkisch subculture where it was associated with the celebration of the summer solstice. In 1919, the dentist Friedrich Krohn adopted it as the symbol of the DAP because it was understood as the symbol of the Nordic culture. Hitler adopted a variant of the DAP symbol and added the three color scheme of the Second Reich to rival the Communist hammer and sickle as a psychological weapon of propaganda (Elst, Koenraad: The Saffron Swastika, Volume 1, pp. 31-32)...Besides pre-Christian and Christian Europe, the swastika has been depicted across many ancient cultures over several millennia. Carl Sagan infers that it was inspired by the sightings of comets by the ancients. In India, it was marked on doorsteps as it was believed to bring good fortune. It was prevalent worldwide by the second millennium as Heinrich Schliemann, the discoverer of Troy, found. It was depicted in Buddhist caverns in Afghanistan. Jaina, who emphasize on avoidance of harm, have considered it a sign of benediction. The indigenous peoples of North America depicted it in their pottery, blankets, and beadwork. It was widely used in Hellenic Europe and Brazil. One also finds depictions of the swastika, turning both ways, from the seals of the Indus Valley Civilization (IVC) dating back to 2,500 BCE, as well as on coins in the 6th century BCE Greece (Sagan, Carl and Druyan, Ann: Comet, pp. 181-186)" loc.cit.: http://indiafacts.co.in/the-swastika-is-not-a-symbol-of-hatred/

Svastika is a hieroglyph used in Indus Script corpora.

It denoted jasta, 'zinc'

Mirror:
https://www.academia.edu/8362658/Meluhha_hieroglyph_5_svastika_read_rebus_tuttha_sulphate_of_zinc

A hieroglyph which is repeatedly deployed in Indus writing is svastika. What is the ancient reading and meaning?

I suggest that it reads sattva. Its rebus rendering and meaning is zastas 'spelter or sphalerite or sulphate of zinc.'

Zinc occurs in sphalerite, or sulphate of zinc in five colours.

The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha ʻbrassʼ(i.e. alloy of copper + zinc).

Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जस्थ । त्रपु m. (sg. dat. jastas जस्तस्), zinc, spelter; pewter; zasath ज़स््थ् or zasuth ज़सुथ् । त्रपु m. (sg. dat. zastas ज़स्तस्), zinc, spelter, pewter (cf. Hindī jast).
jastuvu; । त्रपूद्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri).

Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter).See five svastika on Mohenjodaro prism tablet (m488)

The text inscription on the tablet reads: cast bronze supercargo. It is notable that sphalerite can also be of high iron varieties and hence, the use of ibha 'elephant' Rebus: ib 'iron' together with svastika on a Mohenjodaro tablet.

Hence, the gloss to denote sulphate of zinc: తుత్తము [ tuttamu ] or తుత్తరము tuttamu. [Tel.] n. Vitriol. పాకతుత్తము white vitriol, sulphate of zinc. మైలతుత్తము sulphate of copper, blue-stone. తుత్తినాగము [ tuttināgamu ] tutti-nāgamu. [Chinese.] n. Pewter. Zinc. లోహవిశేషము.துத்தம்² tuttam, n. < tuttha. 1. A prepared arsenic, vitriol, sulphate of zinc or copper; வைப்புப்பாஷாணவகை. (சூடா.) 2. Tutty, blue or white vitriol used as collyrium; கண் மருந்தாக உதவும் துரிசு. (தைலவ. தைல. 69.)

சத்து³ cattu, n. prob. šilā-jatu. 1. A variety of gypsum; கர்ப்பூரசிலாசத்து. (சங். அக.) 2. Sulphate of zinc; துத்தம். (பைஷஜ. 86.)

Hieroglyphs, allographs:

தட்டல் taṭṭal Five, a slang term; ஐந்து என்பதன் குழூஉக்குறி. (J.)

தட்டு¹-தல் taṭṭu-To obstruct, hinder, ward off; தடுத்தல். தகையினாற் காறட்டி வீழ்க்கும் (கலித். 97, 17) Tu. taḍè hindrance, obstacle Ma. taṭa resistance, warding off (as with a shield), what impedes, resists, stays, or stops, a prop Ka. taḍa impeding, check, impediment, obstacle, delay(DEDR 3031)

Ta. taṭṭi screen as of cuscuss grass, rattan, etc., tatty; taṭṭu screen folded or plain;taṭukku screen, mat, seat. Ma. taṭṭi screen, tatty, mat used as a door; taṭukku little mat for sitting on, as of school children. Ka. taṭṭi frame of bamboos, etc., a tatti, matting, bamboo mat; taḍaku, taḍike frame of bamboos, straw, leaves, etc., used as a door, blind, screen, etc., tatty; daḍḍi tatty, screen, curtain, what screens or encloses, cage; flat roof of a house. Tu. taṭṭi screen or blind made of split bamboos, cadjan, palm-leaves, etc.; daḍèscreen, blind; taḍamè a kind of stile or narrow entrance to a garden. Kor. (O.) taḍambe a gate. Te. taḍaka hurdle or tatty, screen made of bamboos, etc.; daḍi screen of mats, leaves or the like, fence. Kol. (SR.) taḍkā plaited bamboos, thatch; (Kin.) taṛka mat; (W.) daṭam door Pali taṭṭikā- palmleaf matting; Pkt. (DNM) ṭaṭṭī- fence; Turner, CDIAL, no. 5990 (DEDR 3036)1. Pa. taṭṭikā -- f. ʻ mat ʼ, taṭṭaka -- m. ʻ flat bowl ʼ; Pk. taṭṭī -- f. ʻ hedge ʼ, ṭaṭṭī -- , °ṭiā -- f. ʻ screen, curtain ʼ; K. ṭāṭh, dat. °ṭas m. ʻ sackcloth ʼ; S. ṭaṭī f. ʻ Hindu bier ʼ; L. traṭṭī f. ʻ screen ʼ; P. taraṭṭī, ṭaṭṭī f. ʻ bamboo matting, screen ʼ(CDIAL 5990)

*ṭhaṭṭh ʻ strike ʼ. [Onom.?]N. ṭhaṭāunu ʻ to strike, beat ʼ, ṭhaṭāi ʻ striking ʼ, ṭhaṭāk -- ṭhuṭuk ʻ noise of beating ʼ; H.ṭhaṭhānā ʻ to beat ʼ, ṭhaṭhāī f. ʻ noise of beating ʼ.(CDIAL 5490)

Ta. taṭam road, way, path, route, gate, footstep.
Ir. (Bhattacharya 1958; Z.) daḍḍa road. Ko. daṛv path, way.(DEDR 3014)

Rebus readings:

தட்டான்¹ taṭṭāṉ, n. < தட்டு-. [M. taṭṭān.] Gold or silver smith, one of 18 kuṭimakkaḷ, q. v.; பொற்கொல்லன். (திவா.) Te. taṭravã̄ḍu goldsmith or silversmith. Cf. Turner,CDIAL, no. 5490, *ṭhaṭṭh- to strike; no. 5493, *ṭhaṭṭhakāra- brassworker; √ taḍ, no. 5748, tāˊḍa- a blow; no. 5752, tāḍáyati strikes.

*ṭhaṭṭha ʻ brass ʼ. [Onom. from noise of hammering brass? -- N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- 1. Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H. ṭhaṭherā m.(CDIAL 5491, 5493)

Tatta1 [pp. of tapati] heated, hot, glowing; of metals: in a melted state (cp. uttatta) Aii.122≈(tattena talena osiñcante, as punishment); Dh 308 (ayoguḷa); J ii.352 (id.); iv.306 (tattatapo "of red -- hot heat," i. e. in severe self -- torture); Miln 26, 45 (adv. red -- hot); PvA 221 (tatta -- lohasecanaŋ the pouring over of glowing copper, one of the punishments in Niraya).(Pali)

தட்டுமுட்டு taṭṭu-muṭṭu, n. Redupl. of தட்டு² [T. M. Tu. taṭṭumuṭṭu.] 1. Furniture, goods and chattels, articles of various kinds; வீட்டுச்சாமான்கள். தட்டுமுட்டு விற்று மாற்றாது (பணவிடு. 225). 2. Apparatus, tools, instruments, utensils; கருவி கள். 3. Luggage, baggage; மூட்டைகள். (W.)Ta. taṭṭumuṭṭu furniture, goods and chattels, utensils, luggage. Ma. taṭṭumuṭṭu kitchen utensils, household stuff. Tu. taṭṭimuṭṭu id.(DEDR 3041)

அஞ்சுவர்ணத்தோன் añcu-varṇattōṉ, n. < id. +. Zinc;

துத்தநாகம். (R.) அஞ்சுவண்ணம் añcu-vaṇṇam, n. < அஞ்சு +. A trade guild; ஒருசார் வணிகர் குழு. (T. A. S. ii, 69.) அஞ்சுபஞ்சலத்தார் añcu-pañcalattār

, n. < அஞ்சு + பஞ்சாளத்தார். Pañca-kammāḷar, the five artisan classes; பஞ்சகம்மாளர். (I. M. P. Cg. 371.)

Sphalerite or zinc sulfide

Its color is usually yellow, brown, or gray to gray-black, and it may be shiny or dull. Itsluster is adamantine, resinous to submetallic for high iron varieties. It has a yellow or light brown streak, a Mohs hardness of 3.5–4, and a specific gravity of 3.9–4.1. Some specimens have a red iridescence within the gray-black crystals; these are called "ruby sphalerite." The pale yellow and red varieties have very little iron and are translucent. http://en.wikipedia.org/wiki/Sphalerite

Note: This is an addendum to the blogpost:

http://bharatkalyan97.blogspot.com/2014/09/indus-script-catalogs-meluhha-bronze.html

Indus writing mlecchita vikalpa (Meluhha cipher)--1
- Adoration of pattaṇī ʻferrymanʼ, paṭṭaṟai‘guild’, kole.l‘smithy, temple’

Meluhha hieroglyphs on Indus script catalogs document metalwork. A gloss for smithy, kole.l, also means a temple.

http://youtu.be/jFUyzMGWbkc

Indus writing mlecchita vikalpa (Meluhha cipher)—2
-- Semantics & orthography of svastikahieroglyph

Zinc was alloyed with other mineral ores to create hard alloys. Svastika hieroglyph also denoted zinc in Meluhha: sattva which also meant the alloy 'pewter'. Archaeological evidence shows condensation retorts to produce zinc metal. A demonstration of Bronze Age competence in smelting and creating alloys.

http://youtu.be/jRjpJsZvNo8

Begram ivory. Hackin 1939, p.77, fig.124 Ivory?The plaque depicts an elephant and a winged lion facing each other.. The scene is bordered on both sides by a wavy leaf or branch. The lion stands on the right side facing left, its front paw held up and touching the elephant's forehead.

Bronze tripod. Begram 26, Kabul Museum. From Hackin, MDAFA XI, 1954, fig. 340. Legs of the tripod are tiger paws. kola 'tiger' Rebus: kol 'working in iron' kolhe 'smelters'. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'fire-altar' (Santali) kāṇḍa 'tools, pots and pans and metal-ware' (Marathi)

ibha m. ʻ elephant ʼ Mn. Pa. ibha -- m., Pk. ibha -- , iha -- , Si. iba Geiger EGS 22: rather ← Pa.(CDIAL 1587) Rebus: ib 'iron' (Santali)

2135 Kur. xolā tail. Malt. qoli id.

kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi) Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that of Santals’ (Santali) kol ‘working in iron’ (Tamil) kōla1 m. ʻ name of a degraded tribe ʼ Hariv.
Pk. kōla -- m.; B. kol ʻ name of a Muṇḍā tribe ʼ.(CDIAL 3532)

Ta. kol working in iron, blacksmith; kollaṉ blacksmith.
Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith(Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.)kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge.(DEDR 2133)

Fortification wall of Begram. From Ghirshman, Begram, 1946. Fortification compares with the fortification in hundreds of Sarasvati-Sindhu (Hindu) civilization sites, e.g. Dholavira, Surkotada, Khirsara

(After Fig. 6 in Sanjyot Mehendale)

Map of South Asia in the Magadhan and Achaemenid periods. From J. Schwartzber, A historical atlas of south Asia, 1978

త్వష్ట [ tvaṣṭa ] tvashṭa. [Skt.] n. A carpenter, వడ్లవాడు. The maker of the universe. విశ్వకర్త. One of the 12 Adityas, ద్వాదశాదిత్యులలో నొకడు.వడ్రంగి, వడ్లంగి, వడ్లవాడు [ vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu ] or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. వర్ధకి [ vardhaki ] vardhaki. [Skt.] n. A carpenter. వడ్లవాడు.

Ta. taṭṭu (taṭṭi-) to knock, tap, pat, strike against, dash against, strike, beat, hammer, thresh; n. knocking, patting, breaking, striking against, collision; taṭṭam clapping of the hands; taṭṭal knocking, striking, clapping, tapping, beating time; taṭṭāṉ gold or silver smith; fem. taṭṭātti. Ma. taṭṭu a blow, knock; taṭṭuka to tap, dash, hit, strike against, knock; taṭṭān goldsmith;
fem. taṭṭātti; taṭṭāran washerman; taṭṭikka to cause to hit; taṭṭippu beating.
Ko. taṭ- (tac-) to pat, strike, kill, (curse) affects, sharpen, disregard (words); taṭ a·ṛ- (a·c) to stagger from fatigue. To. toṭ a slap; toṭ- (toṭy-) to strike (with hammer), pat, (sin) strikes; toṛ- (toṭ-) to bump foot; toṭxn, toṭxïn goldsmith; fem. toṭty, toṭxity; toṭk ïn- (ïḏ-) to be tired, exhausted. Ka. taṭṭu to tap, touch, come close, pat, strike, beat, clap, slap, knock, clap on a thing (as cowdung on a wall), drive, beat off or back, remove; n. slap or pat, blow, blow or knock of disease, danger, death, fatigue, exhaustion. Koḍ. taṭṭ- (taṭṭi-) to touch, pat, ward off, strike off, (curse) effects; taṭṭë goldsmith; fem. taṭṭati (Shanmugam). Tu. taṭṭāvuni to cause to hit, strike. Te. taṭṭu to strike, beat, knock, pat, clap, slap; n. stripe, welt; taṭravã̄ḍu goldsmith or silversmith.Kur. taṛnā (taṛcas) to flog, lash, whip. Malt. taṛce to slap. Cf. 3156 Ka. tāṭu. / Cf. Turner, CDIAL, no. 5490, *ṭhaṭṭh- to strike; no. 5493, *ṭhaṭṭhakāra- brassworker; √ taḍ, no. 5748, tāˊḍa- a blow; no. 5752, tāḍáyati strikes. (DEDR 3039)

http://bharatkalyan97.blogspot.in/2015/06/deciphering-indus-script-meluhha.html

Ek Mukhi Siva Linga, Kushana period (Government Museum, Lucknow). The Siva Linga is one of the most profound symbols of humankind. It is the "mark" of the unmanifest eternal manifesting itself in innumerable forms of the world. Simultaneously, it embodies the vital forces of nature in the manifest world.

http://www.frontline.in/static/html/fl2420/stories/20071019505206400.htm

Linga worship relief. Bhutesvara, Mathura. 1st cent. BCE (Fig. 5.1) The ling is in the centre of a brick-kiln. In the backgrouns a tree is shown. A pair of dwarfs holding rope venerate the linga.
See: https://www.academia.edu/10841276/Textual_evidence_that_Rudra-Siva_is_integral_to_Vedic_pantheon._So_is_linga_a_hieroglyph_denoting_metalwork_in_a_smithy_temple
Composite creature, Stupa II. The depiction displays the oneness of all life forms. It is a delightful and joyous creature, with the features of an elephant, a cow, a deer and even a horse.

Yaudheya coin.

www.wmshello.com

"Yolamira, silver drachm, early type.....c. 125-150 AD......Diademed bust right, dotted border /Swastika right, Brahmi legend ..... Yolamirasa Bagarevaputasa Pāratarāja ......(Of Yolamira, son of Bagareva, Pārata King).....The names Yolamira and Bagareva betray the Iranian origin of this dynasty. The suffix Mira refers to the Iranian deity Mithra. Yolamira means "Warrior Mithra." Bagareva means "rich God." "The Pāratarājas are identified as such by their coins: two series of coins, one mostly in copper bearing legends in Kharoshthi and the other mostly in silver bearing legends in Brahmi. Among coins known so far, there has been no overlap between the two series, which appear to be quite separate from one another, despite commonalities of content. The notable feature of both series is that almost all of the coins bear the name ‘Pāratarāja’ as part of the legend, and they nearly always bear a swastika on the reverse (the exceptions being some very small fractions that seem to eliminate the swastika and/or the long legend, including the words ‘Pāratarāja’, for lack of space). The coins are very rare and, when found, are discovered almost exclusively in the Pakistani province of Baluchistan, reportedly mostly in the area of Loralai..."......NEW LIGHT ON THE PĀRATARĀJAS by PANKAJ TANDON.......http://people.bu.edu/ptandon/Paratarajas.pdf http://balkhandshambhala.blogspot.in/

Fig. 20. Ancient Indian Coin.

The Migration of Symbols, by Goblet d'Alviella, [1894

(Archæological Survey of India, vol. x., pl. ii., fig. 8.)

http://www.sacred-texts.com/sym/mosy/mosy06.htm

Many coins and seals of ancient India carry the Swastika symbol.

Satavahana coin, Copper, die-struck symbol of lion standing to right and a bigSwastika above on obverse, tree on reverse with a counter mark. As these coins are un-inscribed their issues cannot be ascertained with certainty. They ae actually regarded as the earliest coins of India.

Yolamira, silver drachm, early type c. 125-150 CE. Legend around Swastika is inBrahmi lipi (script).

Kuninda, an ancient central Himalayan kingdom, c. 1st century BCE, silver coin. Rev: Stupa surmounted by the Buddhist symbols triratna, surrounded by a Swastika, a "Y" symbol, and a tree in railing. Legend in Kharosthi script.

Corinthia, Circa 550-500 BC. Stater (Silver). Pegasos, with curved wing, flying to left; below, koppa. Reverse. Incuse in the form of a Swastika to left. (Source: Wikipedia)

http://flagstamps.blogspot.in/2013/08/the-ancient-symbol-of-swastika-its-uses_5258.html

Bharhut

"According to Bon tradition, the founder of the orthodox Bon doctrine was Tonpa Shenrab Miwoche of Tagzig...... some writers identify the region with Balkh/Bactria. The name Shenrab has an Iranian sound to it.....One of the most powerful and resonant words in pre-Buddhist Tibet was yungdrung (g.yung drung). It was a the key terms for the old royal religion, the mythological backdrop to the kingly lineage of the Tibetan Empire. For example, the inscription of the tomb of Trisong Detsen has the line: “In accord with the eternal (yungdrung) customs (tsuglag), the Emperor and Divine Son Trisong Detsen was made the ruler of men.” I discussed how to translate that term tsuglag in an earlier post. Here, as you no doubt noticed, I have translated yungdrung here as “eternal”. Eternity seems to be the general meaning of yungdrung in the early religion. In addition, the word was associated with the ancient Indo-European swastika design, which in Tibet was the graphic symbol of the eternal...what did the early Buddhist writers and translators do with this term? Many of them just attached it to the word “dharma” (i.e. Buddhism), no doubt in an attempt to transfer its prestige from the earlier religion to Buddhism. Thus we see “the eternal dharma” (g.yung drung chos) in many Dunhuang manuscripts.".....http://earlytibet.com/2008/04/30/buddhism-and-bon-iii-what-is-yungdrung/

"the Pāradas of the Mahabharata, the Puranas and other Indian sources........
"...coins of Yolamira is in itself a breakthrough, as this is one king for whom we have independent evidence. Konow reports on some pottery fragments from Tor Dherai in the Loralai district that carry an inscription relating to one Shahi Yolamira. Konow says the name Yolamira is not known to us. These coins, found in the same area, provide further evidence of the existence of this king, and can place him in some historical context.....Once again, the validity of this reading is buttressed by examining the meaning of the name. In Bactrian, the name Yola-mira means ‘warrior Mithra’....http://people.bu.edu/ptandon/Paratarajas.pdf
"...Of the Shahi Yola Mira, the master of the vihara, this water hall (is) the religious gift, in his own Yola-Mira-shahi-Vihara, to the order of the four quarters, in the acceptance of the Sarvastivadin teachers. And from this right donation may there be in future a share for (his) mother and father, in future a share for all beings and long life for the master of the law’ .......Sten Konow, Corpus Inscriptionum Indicarum, Vol. II pt. I, pp. 173
"....As permanent monasteries became established, the name "Vihara" was kept. Some Viharas became extremely important institutions, some of them evolving into major Buddhist Universities with thousands of students, such as Nalanda."
"fixing the reign of this dynasty in the interior of Baluchistan during the second and perhaps the third centuries AD fills an important gap in the history of the region. Very little has hitherto been known of the politics of this area from the time of Alexander’s departure to the arrival of Islamic invaders in the early eighth century. Some historians have tended to assume that the Kushans must have held sway over this region, but that hypothesis does not appear to be correct, as the Pāratarājas appear to have been ruling precisely at the time when the Kushan empire was at its zenith...".......http://people.bu.edu/ptandon/Paratarajas.pdf
"Given Konow’s suggestion that Kanishka began the use of the term Shahi, a suggested date for the Pāratarājas would be around the middle of the second century, give or take a quarter century or so."........http://people.bu.edu/ptandon/Paratarajas.pdf

"The swastika mark is not encountered on Kushan coins, but it is an element on Kushanshah coins.."..http://www.academia.edu/2078818/The_Mint_Cities_of_the_Kushan_Empire
"The Kabul Shahi also called Shahiya dynasties ruled one of the Middle kingdoms of India which included portions of the Kabulistan and the old province of Gandhara (now in northern Pakistan), from the decline of the Kushan Empire in the 3rd century to the early 9th century. The kingdom was known as Kabul Shahi (Kabul-shāhān or Ratbél-shāhān in Persian کابلشاهان یا رتبیل شاهان) between 565 and 879 when they had Kapisa and Kabul as their capitals, and later as Hindu Shahi.....The Shahis of Kabul/Gandhara are generally divided into the two eras of the "Buddhist Shahis" and the "Hindu Shahis", with the change-over thought to have occurred sometime around 870 AD with the Arab conquest....."....Sehrai, Fidaullah (1979). Hund: The Forgotten City of Gandhara,

"The mountainous region of Central Asia comprising the eastern parts of Afghanistan and Pakistan and northwest India has always known war. Even now, the area, high in the Hindu Kush mountains, proves difficult to hold......In the sixth century C.E., the place was known as Gondhara, and nominally controlled by the Huns—a people famed for being great horsemen and even greater warriors. Some 200 years later, Gondhara was ruled by a succession of kings called the Hindu Shahi.....It was the Hindu Shahi kings who first minted these silver coins—a simple and elegant representation of the diversity of the region. On one side is the Hun soldier on horseback; on the reverse, the bull that is so sacred to the Hindus."....http://www2.educationalcoin.com/2012/12/21/bull-horse/
Charles Frederick Oldham The Sun and the Serpent: A Contribution to the History of Serpent-worship, 1905..Serpent worship; The Shahis of Afghanistan

"King standing facing, head turned to right, Brāhmi legend at left: Koziya....Koziya issued several differnt types of copper drachms, some of very fine style, such as this one. So Koziya must have risen to the throne as a teenager and probably had quite a long reign, given the wide variety of types he issued."....http://coinindia.com/galleries-parata-rajas.html

Section 5. Ox-hide ingot, tree hieroglyphs on Sanchi/Bharhut sculptural friezes signifying metal ingots and smelters (kuThi 'tree' rebus: kuThi 'smelter')

me
Depiction of torana, or gateway, of stupa, a fragment of a Jaina stupa railing, Kankali Tila, near Mathura (Government Museum, Lucknow). In ancient times, the symbols and motifs of the art of all faiths in India were the same. This depiction is identical to the toranas of Buddhist stupas of early times. Photo: http://www.frontline.in/static/html/fl2420/stories/20071019505206400.htm

On this sculpture, the garland is offered at the Torana, just below the first of three Architraves. The third, top Architrave is adorned by a set of molluscs+spathe of alm flanked by srivata hieoglyphs atop dharma-chakka 'wheel of dhamma, dharma'.

Association with metalwork is seen in the following frieze from Kankali Tila:

Sculpted beam, stupa railing, Kankali, Mathura region, 2nd century B.C. The pulsating vine of the abundance of the natural order is carried by human figures as it courses through the world, bringing with it the wealth of nature.

The stupa railing bottom register shows fire-altar next to a smelter hut followed by a tree adorned with safflower: karaDa 'safflower' Rebus: karaDa 'hard alloy'. Next to the fire-altar is a basket: dhokra 'basket' Rebus: dhokra 'cire perdue metal caster'. Next to the fire-altar is a plate of fruit offerings. The top register shows pericarp of lotus: kárṇikā Pa. kaṇṇikā -- f. ʻpericarp of lotus'' Rebus: kanka, kāraṇikā 'scribe'.
luhha.html
Woman's Shringhar, Kushana period, scene on a pillar railing (Government Museum, Mathura). The grace and delicacy of the human form is sensitively expressed in this scene, which meets the worshipper's eye as he goes around the stupa. The centre-piece of the doorway of the stupa is the hieroglyph 'ingot': mukha lo Rebus: muh loh 'ingot copper'. This divinity is venerated by the worshippers wearing large anklets (perhaps of metal).

Bharhut sculptural relief. The center-piece is the slab with hieroglyphs (sacred writing) held on the platform which holds a pair of 'srivatsa' hieroglyph compositions. The artist is conveying the key interpretative message that the composition contains inscribed, engraved, written symbols (hieroglyphs). The hieroglyphs are read rebus using Meluhha glosses to explain the veneration of ayira-ariya dhamma. A related life-activity reading: ayira 'fish' rebus: aya'metal alloy'; karada 'saffower' rebus: karada 'hard alloy of metal'. This is work done in kole.l 'smithy' rebus: kole.l 'temple'.

The central hieroglyphs flanked by two 'srivatsa' hieroglyphs are a pair of spathes:
Hieroglyph: दळ (p. 406)[ daḷa ] दल (p. 404) [ dala ] n (S) A leaf. 2 A petal of a flower. dula 'pair'
Rebus: metalcast: ढाळ [ ḍhāḷa ] Cast, mould, form (as of metal vessels, trinkets &c.) dul 'cast metal'. The three 'x' on this frame are also hieroglyphs: kolmo 'three' Rebus: kolami 'smithy' dATu 'cross' rebus: dhatu 'mineral'. Thus, the sculptural composition is a narrative of work in a Meluhha smithy.

S. Kalyanaraman
Sarasvati Research Center
November 14, 2015

Skilled mirror craft of intermetallic delta high-tin bronze (Cu31Sn8, 32.6% tin) from Aranmula, Kerala (Sha...