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Three strands, tri-dhātu is an Indus Script hieroglyph on पोतृ pōtṟ'purifier priest' to signify dhā̆vaḍ, dhamaga 'smelter, blacksmith' working in alloy of three mineral ores.
Lokokti and Lokottara renderings of Indus Script Corpora messages. Siva and Ganesa as cultural identifiers of Bharatam Janam is evidenced by Indus Script hieroglyph-multiplexes signified on sculptural friezes and writing systems in a stunning continuum of nearly 4 millennia, from ca. 3300 BCE (Harappa potsherd with tabernae montana hieroglyphs) to Candi Sukuh Sivalinga and Ganesa iconography of 15th century. There are emphatic indicators of the veneration of the Cosmic Dancer Siva-Nataraja and Ganesa of the GaNa-s shown also on Bhutesvar cultural friezes in the context of smelting processes. The smelting processes date back to Indus Script hieroglyphs of trefoil tri-dhātu signifiers of metalwork. Metalwork in kole.l'smithy' evolves into kole.l'temple' venerating that Dancer of cosmic phenomena which find mirror images on smithy-forge work by smiths, Bharatam Janam, 'metalcaster folk'.
पोतृ pōtṟ 'purifier priest', adorned with the hieroglyphs of one dotted circle, two dotted circles and three dotted circles is: dhā̆vaḍ m. ʻiron-smelter' and dhamaga 'blacksmith'. He wears two paṭṭi tied to a dotted circle, one on his forehead and another on his right shoulder. Rebus rendering is: paṭṭi 'hamlet, village'. Thus, पोतृ pōtṟ is bhaṭṭāraka 'arhat' of the village. The smithy is kole.l, the temple is kole.l He is the smelter, blacksmith working with three dhātu, tri-dhātu in a process which is a metaphor of the cosmic dance of the Cosmic Dancer engaged in dissolution and regeneration. The forge and the anvil are the dance-steps of smiths Bharatam Janam, metalcaster forlk, replicating with mere earth and stone in fire of the smelter, this cosmic dance.
Remarkably precise orthographic evidence is provided by the engraver of Sarasvati-Sindhu civilization who created the limestone statue of priest. This evidence is intended to signify dhātu'strand' rebus: dhātu 'element or mineral ore (ochre, 'red pigment containing hydrated iron oxide' subjected to smelting to produce muhã 'ingot' or muhã'quantity of metal produced at one time in a native smelting furnace'. A variant of ochre containing a large amount of hematite, or dehydrated iron oxide, has a reddish tint known as "red ochre". The words in Meluhha (Prakritam or Indian sprachbund) lexis to denote this red element are: Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773). dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻPa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ(CDIAL 6773).
The hieroglyph 'dotted circle' or a single strand is: dhāˊtu strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā ]S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773)
This hieroglyph also signifies rebus dhamaga (from root dhma) 'blacksmith' (Prakritam): dhma 'blow': dhamá in cmpds. ʻ blowing ʼ Pāṇ., dhamaka -- m. ʻ blacksmith ʼ Uṇ.com. [√dham ] Pa. dhama -- , °aka -- m. ʻ one who blows ʼ, Pk. dhamaga<-> m.; K. dam m. ʻ blast of furnace or oven, steam of stewing ʼ; -- Kho. Sh.(Lor.) dam ʻ breath, magical spell ʼ ← Pers. dam. dhámati ʻ blows ʼ RV. [√dham ]Pa. dhamati ʻ blows, kindles ʼ, Pk. dhamaï, °mēi; K. damun ʻ to roar (of wind), blow up a fire ʼ; S. dhãvaṇu ʻ to blow (with bellows), beat (of pulse) ʼ; P. dhauṇā ʻ to blow (with bellows) ʼ, WPah.khaś. rudh. dhamṇū, G. dhamvũ. -- Kt. dəmō -- , Pr. -- lemo-- ʻ to winnow ʼ rather < dhmāyátē . -- Kho. (Lor.) damik ʻ to work a charm on ʼ deriv. dam ʻ charm ʼ ← Pers. rather than < *dhāmayati. -- Ext. -- kk -- or X MIA. phukk -- , phuṁk -- s.v. *phūtka -- : L. dhaũkaṇ ʻ to blow (with bellows) ʼ; P. dhauk(h)ṇā,dhaũk(h)ṇā ʻ to blow (with bellows), bellow, brawl ʼ; Ku. dhaũkṇo ʻ to blow, breathe ʼ, dhaũkalo ʻ bellows ʼ; H. dhaũknā ʻ to blow (with bellows), breathe on, pant ʼ.dhamana n. ʻ blowing with bellows ʼ lex. [√dham ] K. damun m. ʻ bellows ʼ. -- Ash. domótilde; ʻ wind ʼ (→ Pr. dumūˊ), Kt. dyīmi, Wg. damútildemacr;, Bashg. damu; Paš.lauṛ.dāmāˊn, kuṛ. domón, uzb. damūn ʻ rain ʼ (< ʻ *storm ʼ → Par. dhamāˊn ʻ wind ʼ dhamanī f. ʻ bellows ʼ KātySm., ʻ sort of perfume ʼ Bhpr. [√dham ]
I suggest that a dotted circle is an orthographic signifier of one strand; two dotted circles joined together as orthographic signifiers of two strands; three dotted circles joined together as orthographic signifiers of three strands.
This orthographic rendering of the hieroglyphs can be vividly seen on the dotted circles shown on the uttariyam (shawl) of the priest statue of Mohenjodaro.
The most common form of braid is the 3-strand braid. The technique is diagrammed below.
A three-strand braid, using hair, rope, or cord appears as follows:
![]()
6 denotes number of strands that make up the ropebhaṭṭāra -- see bhártr̥ -- .Addenda: bhaṭṭa -- 2 : WPah.kṭg. (kc.) bhāˋṭ m. ʻ poet and singer ʼ, kṭg. bhāˋṭṭəṇ, kc. bhāṭiṇ f. ʻ his wife ʼ; Garh. bhāṭ ʻ bard ʼ.
பட்டி³ paṭṭi
பட்டிகை³ paṭṭikai
Worship of Siva Linga by Gandharvas - Shunga Period - Bhuteshwar - ACCN 3625.The Curzon Museum of Archaeology, Museum Road or Murari Lal Rajpal road, Dampier Nagar, Mathura, Uttar Pradesh, India.
Rebus: meD 'iron' (Mundari. Remo.)![]()
Santali glosses![]()
Miedź, med' (Northern Slavic).
Used in most of the Slavic and Altaic languages.
Bakar Bosnian
Медзь [medz'] Belarusian
Měď Czech
Bakar Croatian
Kòper Kashubian
Бакар [Bakar] Macedonian
Miedź Polish
Медь [Med'] Russian
Meď Slovak
Baker Slovenian
Бакар [Bakar] Serbian
Мідь [mid'] Ukrainian
Lokokti and Lokottara renderings of Indus Script Corpora messages. Siva and Ganesa as cultural identifiers of Bharatam Janam is evidenced by Indus Script hieroglyph-multiplexes signified on sculptural friezes and writing systems in a stunning continuum of nearly 4 millennia, from ca. 3300 BCE (Harappa potsherd with tabernae montana hieroglyphs) to Candi Sukuh Sivalinga and Ganesa iconography of 15th century. There are emphatic indicators of the veneration of the Cosmic Dancer Siva-Nataraja and Ganesa of the GaNa-s shown also on Bhutesvar cultural friezes in the context of smelting processes. The smelting processes date back to Indus Script hieroglyphs of trefoil tri-dhātu signifiers of metalwork. Metalwork in kole.l'smithy' evolves into kole.l'temple' venerating that Dancer of cosmic phenomena which find mirror images on smithy-forge work by smiths, Bharatam Janam, 'metalcaster folk'.
पोतृ pōtṟ 'purifier priest', adorned with the hieroglyphs of one dotted circle, two dotted circles and three dotted circles is: dhā̆vaḍ m. ʻiron-smelter' and dhamaga 'blacksmith'. He wears two paṭṭi tied to a dotted circle, one on his forehead and another on his right shoulder. Rebus rendering is: paṭṭi 'hamlet, village'. Thus, पोतृ pōtṟ is bhaṭṭāraka 'arhat' of the village. The smithy is kole.l, the temple is kole.l He is the smelter, blacksmith working with three dhātu, tri-dhātu in a process which is a metaphor of the cosmic dance of the Cosmic Dancer engaged in dissolution and regeneration. The forge and the anvil are the dance-steps of smiths Bharatam Janam, metalcaster forlk, replicating with mere earth and stone in fire of the smelter, this cosmic dance.
Remarkably precise orthographic evidence is provided by the engraver of Sarasvati-Sindhu civilization who created the limestone statue of priest. This evidence is intended to signify dhātu'strand' rebus: dhātu 'element or mineral ore (ochre, 'red pigment containing hydrated iron oxide' subjected to smelting to produce muhã 'ingot' or muhã'quantity of metal produced at one time in a native smelting furnace'. A variant of ochre containing a large amount of hematite, or dehydrated iron oxide, has a reddish tint known as "red ochre". The words in Meluhha (Prakritam or Indian sprachbund) lexis to denote this red element are: Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773). dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻPa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ(CDIAL 6773).
The hieroglyph 'dotted circle' or a single strand is: dhāˊtu strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√
This hieroglyph also signifies rebus dhamaga (from root dhma) 'blacksmith' (Prakritam): dhma 'blow': dhamá in cmpds. ʻ blowing ʼ Pāṇ., dhamaka -- m. ʻ blacksmith ʼ Uṇ.com. [√
I suggest that a dotted circle is an orthographic signifier of one strand; two dotted circles joined together as orthographic signifiers of two strands; three dotted circles joined together as orthographic signifiers of three strands.
This orthographic rendering of the hieroglyphs can be vividly seen on the dotted circles shown on the uttariyam (shawl) of the priest statue of Mohenjodaro.
The most common form of braid is the 3-strand braid. The technique is diagrammed below.
A three-strand braid, using hair, rope, or cord appears as follows:
6 denotes number of strands that make up the rope
பட்டி³ paṭṭi
பட்டிகை³ paṭṭikai
Worship of Siva Linga by Gandharvas - Shunga Period - Bhuteshwar - ACCN 3625.The Curzon Museum of Archaeology, Museum Road or Murari Lal Rajpal road, Dampier Nagar, Mathura, Uttar Pradesh, India.
Rebus: meD 'iron' (Mundari. Remo.)
Santali glosses
Miedź, med' (Northern Slavic).
Used in most of the Slavic and Altaic languages.
Bakar Bosnian
Медзь [medz'] Belarusian
Měď Czech
Bakar Croatian
Kòper Kashubian
Бакар [Bakar] Macedonian
Miedź Polish
Медь [Med'] Russian
Meď Slovak
Baker Slovenian
Бакар [Bakar] Serbian
Мідь [mid'] Ukrainian
Pk. dhamaṇĭ̄ -- f. ʻ bellows ʼ, S. dhãvaṇi f., H. dhaunī f., G. dhamaṇi f. (whence dhamaṇvũ ʻ to blow with bellows ʼ); -- K. daman, dat. °müñü f. ʻ bad smell (esp. of stale curd or other bad food) ʼ.(CDIAL 6730-2, 6734) ध्मातृ [p= 520,3] m. a blower , smelter or melter (of metal) RV. v , 9 , 5 n. a contrivance for blowing or melting ib. धमक [p= 509,3]m. " a blower " , blacksmith (as blowing the forge) Un2. ii , 35 Sch. See above: Pāṇ.,
dhamaka -- m. ʻ blacksmith ʼ Uṇ.com. [√dham ] Pa. dhama -- , °aka -- m. ʻ one who blows ʼ, Pk. dhamaga<-> m.
"Mohenjo-daro, a seated male figure with head missing. On the back of the figure, the hair style can be partially reconstructed by a wide swath of hair and a braided lock of hair. A cloak is draped over the edge of the left shoulder and covers the folded legs and lower body, leaving the right shoulder and chest bare. The left arm is clasping the left knee and the hand is visible peeking out from underneath the cloak. The right hand is resting on the right knee which is folded beneath the body." -- Shahid Hussain Raja https://www.pinterest.com/pin/42362052718326625/
A single dotted circle pierced through with a string or band is shown 1. on the right shoulder; and 2. on the forehead.
Italiano: Schema interno di una fune 6x19. Wire: filo, Strand: trefolo, Core: anima, Rope: fune Wire-Strand-Core-Rope
English: Diagram showing construction of 6x19 fibre core flexible wire rope.
19 denotes number of wires that make up each strand
Steel wire rope (right hand lay) "Wire rope consists of several strands laid (or 'twisted') together like a helix. Each strand is likewise made of metal wires laid together like a helix. Initially wrought iron wires were used...Manufacturing a wire rope is similar to making one from natural fibres. The individual wires are first twisted into a strand, then six or so such strands again twisted around a core. This core may consist of steel, but also of natural fibres such as sisal, manila, henequen,jute, or hemp. This is used to cushion off stress forces when bending the rope." https://simple.wikipedia.org/wiki/Wire_rope
Close-up of a rope
Hieroglyph of dotted circle on the fillet on the forehead, right shoulder
பட்டா³ paṭṭā, n. < U. paṭṭa. Outer rim of a wheel; வண்டிச் சக்கரத்தின் மேலிட்ட இரும்புப் பட்டம்.
9366 bhaṭṭa2 m. ʻ mixed caste of bards ʼ lex. [Cf. bhaṭa -- m. ʻ mixed caste ʼ lex., bhaḍa -- m. Cat., bhaṇḍa -- m. BrahmavP.Pk. bhaṭṭa -- m. ʻ bard ʼ; K. bāṭh, dat. °ṭhas m. ʻ bard, panegyrist ʼ, S. bhaṭu m., P. bhaṭṭ m., Ku. N. A. B. bhāṭ, Or. bhāṭa, Bhoj. Aw.lakh. H. G. M. bhāṭ m., Si. bäṭṭayā; -- S. bhaṭiṇī f. ʻ woman of this caste ʼ, P. bhaṭṭaṇ, °ṇī f., N. bhaṭini, H. bhāṭan f.; -- N.bhaṭyāunu ʻ to lead a chorus ʼ.
bhaṭṭārikāmaṭha 9367 bhaṭṭārikāmaṭha m. ʻ name of a quarter of Śrīnagar ʼ Rājat. (PW). [bhaṭṭāra -- s.v. bhártr̥ -- , maṭha -- ]K. Brȧḍi mar m. < *baṭarimar?
பட்டன் paṭṭaṉ, n. < bhaṭṭa. 1. Learned man, scholar; புலவன். மறைநான்கு முன் னோதிய பட்டனை (திவ். பெரியதி. 7, 3, 6). 2. Brāhmin-priest of a temple; கோயிலருச்சகன். 3. Spiritual master, god; சுவாமி. ஆலநிழலமர் பட்டனை (தேவா. 926, 1). 4. See பட்டர்பிரான். தண்புது வைப்பட்டன் சொன்ன (திவ். பெரியாழ். 3, 8, 10).
, n. < paṭṭaāvali. 1. List of successive spiritual heads, as among Jains; பட்டம்பெற்ற குருமாரின் தலைமுறை வரிசை. (I. M. P. M d. 42.)
பட்டாசாரி paṭṭācāri, n. < bhaṭṭa பட்டாசாரியன் paṭṭācāriyaṉ
, n. < id. +. 1. See பட்டன், 1, 2. (W .) 2. founder of a sub-sect of Mīmāṁsakas; மீமாஞ்ச மதத்தினுள் ஒரு பகுதிக்கு ஆசிரியன். (சி. போ. பா. பக். 44.) பட்டாமணியம் paṭṭā-maṇiyam
, n. < U. paṭṭā பட்டாரகன் paṭṭārakaṉ , n. < bhaṭṭāraka. 1. Deity; கடவுள். (பிங்.) திருநந்திக்கரை பட் டாரகர் (T. A. S . iii, 206). 2. One who attained the stage of Arhat; அருகபதவி பெற்றோர். நமி பட்டாரகர் (தக்கயாகப். 375, உரை). 3. Spiritual preceptor; ஞானகுரு. (பிங்.) முகுந்தோத்தம பட் டாரகர் (T. A. S . iii, 44).பட்டாவளி¹ paṭṭāvaḷi
, n. < bhaṭṭi. The Prime Minister of Vikramāditya of Ujjayinī; விக்கிர மாதித்தன் மந்திரி.
, n. < paṭṭikā. 1. [K. paṭṭi.] Cloth; சீலை. (பிங்.)
2. Puttee, cloth wound round the legs in place of high boots; கணைக் காலிலிருந்து முழங்கால்வரை சுற்றிக்கட்டிக்கொள்ளும் கிழிப்பட்டை. Loc. 3. Bandage, ligature; புண் கட்டுஞ் சீலை. பட்டிகட்டுதல் (தைலவ. தைல. 128). 4. Hemming; மடிப்புத்தையல். Loc.
, n. < paṭṭikā. 1. Woman's girdle, belt of gold or silver; மேகலை. (சூடா.) (S. I. I . ii, 144.) 2. A belt; அரைக்கச்சை. தொகை விரிபட்டிகைச் சுடருஞ் சுற்றிட (கம்பரா. கடிமண. 65). 3. Stays for the breast; முலைக் கச்சு. (சூடா.) 4. See பட்டி² 1, 3. (W .) 5. A shoulder-strap, used in yogic postures; தோளிலிடும் யோகபட்டி. தோளிலிடும் பட்டிகையும் (பெரியபு. மானக்கஞ். 23). 6. An ornamental structure around the wall, as in the inner sanctuary of a temple; கருப்பக்கிருகம் முதலியவற்றின் மதிலடியைச்சுற்றி அமைக்கப்படும் அலங் காரவேலையுள்ள பகுதி. தம்மிசை யிலங்கு பட்டிகையு மைஞ்ஞூறு விற்கடை (மேருமந். 1133).
, n. prob. படு¹-. 1. [K. M. paṭṭi.] Cow-stall;
பசுக்கொட்டில்.
(பிங்.)
2. [K. M. paṭṭi.] Sheep-fold; ஆட்டுக்கிடை. (W .) 3. A measure of land, as sufficient for a sheep-fold; நிலவளவு வகை. (J .) 4. [K. paṭṭi.] Cattle-pound; கொண் டித்தொழ. 5. [T. paṭra, K. paṭṭi.] Hamlet, village; சிற்றூர். (நாமதீப. 486). 6. Place; இடம். (பிங்.)
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Pylon with womb-shaped sculptural relief, Candi Sukuh. Bhima, a hero of the Mahabharata, who stands opposite a pedestaled god within a horseshoe-shaped arch.The figures are sculpted in wayang puppet style, resembling theirleather-puppet counterparts in posture, costume, and sideways presentation.
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Kneeling Bhima with club. Candi Ceto.
Pylon with womb-shaped sculptural relief, Candi Sukuh. Bhima, a hero of the Mahabharata, who stands opposite a pedestaled god within a horseshoe-shaped arch.The figures are sculpted in wayang puppet style, resembling theirleather-puppet counterparts in posture, costume, and sideways presentation.
Consecrated Ganggasudhi sivalinga, Candi Sukuh
Pannenborg-Stutterheim's studies based on descriptive and iconographic studies, point to a Mahabharata narrative adapted in Javanese texts.
Candi Sukuh temple was consecrated by Bhre Daha in 1440 CE celebrating Bhima, an embodiment of the philosophy of life alternating between death and rebirth in an eternal cycle, a cosmic dance. King Kertanagara’s role in unifying Majapahit Empire, founded on Dharma-Dhamma is recorded in history. Some refer to Candi Sukuh as a temple venerating Tantrik Saivism as ‘Bhima cult’. Bhre Daha belonged to the tradition of royal purohita Bhagawan Ganggasudhi, associated with the royal house of Girindrawardhana. Gangga sudhi is rebus for kanga sudhi ‘purification by brazier, kanga’.
Stutterheim, WF, 1935, Indian influences in Old-Balinese Art, London, The India Society argues for the iconography of Candi Sukuh and Candi Ceto based on Mahabharata narratives in Javanese texts. The episodes relate to the narration of Bhima's birth from a caul in Bhima Bungkus and other Mahabharata episodes from Bhima Suwarga.
Paintings in Bali based in Bhima Suwarga. Bhima rescues the Atman of Pandu from hell with guidance from Siva.
I suggest that the narrative of dhā̆vaḍ, dhamaga 'smelter, blacksmith' working in alloy of three mineral ores in Indus Script hieroglyphs is a cultural idiom signified on Candi Sukuh sculptural narratives. The connecting link is Siva and Ganesa, as shown by the ekamukha sivalinga and gana on Bhutesvar reliefs shown in the context of a smelter.
See: http://bharatkalyan97.blogspot.in/2015/06/sacred-metalwork-bronze-age-hieroglyphs.html
A tree associated with smelter and linga from Bhuteshwar, Mathura Museum. Architectural fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a pipal tree encircled by railing. (Srivastava, AK, 1999, Catalogue of Saiva sculptures in Government Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228)
The base is decorated with ‘trefoil’ indicating three perforations or three strands: tri-dhātu signifying three mineral ores, tri-dhātu.
Lingam, grey sandstone in situ, Harappa, Trench Ai, Mound F, Pl. X (c) (After Vats). "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I
Terracotta sivalinga, Kalibangan.
Ekamukha Sivalinga
Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2). This is the most emphatic representation of linga as a pillar of fire. The pillar is embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter used for smelting to create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). मेड (p. 662) [ mēḍa ] f (Usually The association of dwarfs, gaNa is consistent with the interpretation of Ganesa iconography with elephant trunk: karibha 'elephant trunk' (Pali) rebua: karba 'iron' (Tulu); ib 'iron' (Santali) kara 'trunk' khAr 'blacksmith'. Siva's gaNa are Bharatam Janam, metalcaster folk engaged with पोतृ pōtṟ 'purifier priest' to signify dhā̆vaḍ, dhamaga 'smelter, blacksmith' working in alloy of three mineral ores. The garland depicted on Bhutesvar sculptural friezes signifies: dhAman 'garland, rope' rebus: dhamaga 'blacksmith', dhmAtr 'smelter'.
Candi Sukuh and Candi Ceto narratives are a cultural continuum of the veneration of Skambha, the fiery pillar of light as a metaphor for the cosmic dance of dissolution and regeneration. The message of the narratives of Indus Script hieroglyphs and of Candi Sukuh/Candi Ceto are the same: liberation of the Atman as the Cosmic Dancer renders in rhythm and dance the Cosmic phenomena finding expression in kole.l 'smithy' i.e. kole.l 'temple'.
The narratives documented in Indus Script Corpora from ca. 3300 BCE find their echoes in Candi Sukuh of 15th century, validating the stunning significance of the Atharva Veda Skhamba Sukta (AV X.7).
The aniconic Sivalinga form gets expression in the form of Cosmic Dancer.
Cosmic Dancer, Nataraja sculptural frieze, Ellora caves. Kailasha temple.
Statue of red stone. Torso of male. Harappa.
Torso Male dancer. Harappa. Grey limestone, ht 4 inches-National Museum, New Delhi
Candi Sukuh frieze. The scene in bas relief The scene depicted Bhima as the blacksmith in the left forging the metal, Ganesa in the center, and Arjuna in the right operating the tube blower to pump air into the furnace.
The dance step of the male torso of Harappa and the dance step of the elephant-headed Ganesa on Candi Sukuh frieze are explained in a remarkable hieroglyph on a Bhirrana potsherd and a Mohenjodaro tablet:
Dance-step in a cire perdue bronze statue, Mohenjodaro replicated on a Bhirrana potsherd. The red potsherd with the engraving resembling the Dancing Girl bronze figurine of Mohenjodaro, found at Bhirrana.
m0493Bt Pict-93: Three dancing figures in a row. Text 2843 Glyph: Three dancers. Kolmo ‘three’; meD ‘to dance’
Sign 44 (this glyph could be compared with the orthography of three dancers in a row; the glyph is a ligature showing a 'dance step' and a rimless pot). Glyphs: meD 'dance' (Remo); rebus: meD 'iron'; bat.a 'pot'; bat.hi 'furnace'.So, why a dancing girl? Because, depiction of a dance pose is a hieroglyph to represent what was contained in the pot. The glyph encodes the mleccha word for 'iron': med.
Glyph: meD 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma)Ta. meṭṭu (meṭṭi-) to spurn or push with the foot. Ko. meṭ- (mec-) to trample on, tread on; meṭ sole of foot, footstep, footprint. To. möṭ- (möṭy-) to trample on; möṭ step, tread, wooden-soled sandal. Ka. meṭṭu to put or place down the foot or feet, step, pace, walk, tread or trample on, put the foot on or in, put on (as a slipper or shoe); n. stepping, step of the foot, stop on a stringed instrument; sandal, shoe, step of a stair; meṭṭisu to cause to step; meṭṭige, meṭla step, stair. Koḍ. moṭṭï footprint, foot measure, doorsteps. Tu. muṭṭu shoe, sandal; footstep; steps, stairs. Te meṭṭu step, stair, treading, slipper, stop on a lute; maṭṭu, (K. also) meṭṭu to tread, trample, crush under foot, tread or place the foot upon; n. treading; maṭṭincu to cause to be trodden or trampled. Ga. (S.3 ) meṭṭu step (< Te.). Konḍa maṭ- (-t-) to crush under foot, tread on, walk, thresh (grain, as by oxen); caus.maṭis-. Kuwi (S.) mettunga steps. Malt. maḍye to trample, tread. (DEDR 5057)
The dance step of Ganesa (elephant head ligatured to a dancing person) on Candi Sukuh frieze is also explained by the gloss: meD 'dance step' rebus: meD 'iron'.
Ganesa ligature with head of an elephant is a memory recollected from Indus Script hieroglyph-multiplex tradition:
Ganesha, late 7th–8th century. Central Vietnam. Lent by Museum of ChamTerracotta. Tiger, bovine, elephant, Nausharo NS 92.02.70.04 h. 6.76 cm; w. 4.42; l. 6.97 cm. Centre for Archaeological Research Indus Balochistan, Musée Guimet, Paris
Three-headed: elephant, buffalo, bottom jaw of a feline. NS 91.02.32.01.LXXXII. Dept. of Archaeology, Karachi. EBK 7712
Source:
Une tête d'éléphant en terre cuite de Nausharo (Pakistan)
In: Arts asiatiques. Tome 47, 1992. pp. 132-136. Jarrige Catherine
http://www.persee.fr/web/revues/home/prescript/article/arasi_0004-3958_1992_num_47_1_1330
The elephant head ligatured with a buffalo at Nausharo is a curtain-raiser for the practice of ligaturing in Indian tradition for utsava bera 'idols carried on processions'. The phrase utsava bera denotes that processions of the type shown on Mesopotamian cylinder seals or Mohenjo-daro tablets are trade processions for bera 'bargaining, trade'. Thus, the processions with hieroglyphs may be part of trade-exchange fairs of ancient times. It is significant that the utsava bera of Ganesa is shown together with a rat or mouse -- as vāhana: ibha 'elephant' Rebus: ib 'iron'. mūṣa 'rat, mouse' Rebus: mūṣa 'crucible'. Thus both rat/mouse and elephant face ligatured to a body, are Meluhha hieroglyphs related to metallurgical processes.
sangaDa 'joined animals' rebus: sangara 'proclamation': karibha 'elephant trunk' (Pali) Rebus: karba 'iron' (Tulu) ib 'iron' (Santali) kara 'trunk of elephant' Rebus: khAr 'blacksmith' ranga 'buffalo' Rebus: ranga 'pewter'. kola 'tiger' Rebus: kolle 'blacksmith' kol 'working in iron' kole.l 'smithy, temple' kolimi 'smithy, forge'.
The dance step of elephant-headed Ganesa shown on Candi Sukuh sculptural hieroglyph-multiplex can thus be deciphered as: karibha 'trunk of elephant' rebus: karba 'iron' ib 'iron' meD 'dance step' rebus: meD 'metal, iron, copper'.
The same word is explained in Slavic languages as 'copper'. Such transferance of signifying metals by th same gloss also occurs for the word lohwhich is semantically explained as copper or iron or metal, in general.
— Slavic
Мед [Med] BulgarianWilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M).
Ma. <i>mErhE'd</i> `iron'.
Mu. <i>mERE'd</i> `iron'.
~ <i>mE~R~E~'d</i> `iron'. ! <i>mENhEd</i>(M).
Ho <i>meD</i> `iron'.
Bj. <i>merhd</i>(Hunter) `iron'.
KW <i>mENhEd</i>
@(V168,M080)
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.
Title / Object:anthropomorphic sheorajpurFund context:Saipai, Dist. KanpurTime of admission:1981Pool:SAI South Asian ArchaeologyImage ID:213 101Copyright:Dr Paul Yule, HeidelbergPhoto credit:Yule, Metalwork of the Bronze in India, Pl 23 348 (dwg)One anthropomorph had fish hieroglyph incised on the chest of the copper object, Sheorajpur, upper Ganges valley, ca. 2nd millennium BCE, 4 kg; 47.7 X 39 X 2.1 cm. State Museum, Lucknow (O.37) Typical find of Gangetic Copper Hoards. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍh ‘helper of merchant’ (Gujarati) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, ayas ‘metal. Thus, together read rebus: ayo meḍh ‘iron stone ore, metal merchant.’
Skambha is eternal Brahman. The cosmic column is a fiery pillar of light linking heaven and earth. What lokottara tantra yukti can transport the inquirers beyond Indus Script Corpora into the realms of cosmic inquiries of unsurpassed profundity in Atharva Veda Skhamba Sukta?
In a breath-taking philosophical inquiry, Atharvaveda Skhamba Sukta asks 44 questions which are the pinnacle of veda, the desire to know and understand phenomena:
Skambha Sukta ( Atharva Veda X-7 )
kásminn áṅge tápo asyā́dhi tiṣṭhati kásminn áṅga r̥tám asyā́dhy ā́hitam
kvà vratáṃ kvà śraddhā́sya tiṣṭhati kásminn áṅge satyám asya prátiṣṭhitam 1
kásmād áṅgād dīpyate agnír asya kásmād áṅgāt pavate mātaríśva
kásmād áṅgād ví mimīté 'dhi candrámā mahá skambhásya mímāno áṅgam 2
kásminn áṅge tiṣṭhati bhū́mir asya kásminn áṅge tiṣṭhaty antárikṣam
kásminn áṅge tiṣṭhaty ā́hitā dyáuḥ kásminn áṅge tiṣṭhaty úttaraṃ diváḥ 3
kvà prépsan dīpyata ūrdhvó agníḥ kvà prépsan pavate mātaríśvā
yátra prépsantīr abhiyánty āvŕ̥taḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 4
kvā̀rdhamāsā́ḥ kvà yanti mā́sāḥ saṃvatsaréṇa sahá saṃvidānā́ḥ
yátra yánty r̥távo yátrārtavā́ḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 5
kvà prépsantī yuvatī́ vírūpe ahorātré dravataḥ saṃvidāné
yátra prépsantīr abhiyánty ā́paḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 6
yásmint stabdhvā́ prajā́patir lokā́nt sárvām̐ ádhārayat
skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 7
yát paramám avamám yác ca madhyamáṃ prajā́patiḥ sasr̥jé viśvárūpam
kíyatā skambháḥ prá viveśa tátra yán ná prā́viśat kíyat tád babhūva 8
kíyatā skambháḥ prá viveśa bhūtám kíyad bhaviṣyád anvā́śaye 'sya
ékaṃ yád áṅgam ákr̥ṇot sahasradhā́ kíyatā skambháḥ prá viveśa tátra 9
yátra lokā́mś ca kóśāṃś cā́po bráhma jánā vidúḥ
ásac ca yátra sác cāntá skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 10
yátra tápaḥ parākrámya vratáṃ dhāráyaty úttaram
r̥táṃ ca yátra śraddhā́ cā́po bráhma samā́hitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 11
yásmin bhū́mir antárikṣaṃ dyáur yásminn ádhy ā́hitā
yátrāgníś candrámāḥ sū́ryo vā́tas tiṣṭhanty ā́rpitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 12
yásya tráyastriṃśad devā́ áṅge sárve samā́hitāḥ
skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 13
yátra ŕ̥ṣayaḥ prathamajā́ ŕ̥caḥ sā́ma yájur mahī́
ekarṣír yásminn ā́rpitaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 14
yátrāmŕ̥taṃ ca mr̥tyúś ca púruṣé 'dhi samā́hite
samudró yásya nāḍyàḥ púruṣé 'dhi samā́hitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 15
yásya cátasraḥ pradíśo nāḍyàs tíṣṭhanti prathamā́ḥ
yajñó yátra párākrāntaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 16
yé púruṣe bráhma vidús té viduḥ parameṣṭhínam
yó véda parameṣṭhínaṃ yáś ca véda prajā́patim
jyeṣṭháṃ yé brā́hmaṇaṃ vidús te skambhám anusáṃviduḥ 17
yásya śíro vaiśvānaráś cákṣur áṅgirasó 'bhavan
áṅgāni yásya yātávaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 18
yásya bráhma múkham āhúr jihvā́ṃ madhukaśā́m utá
virā́jam ū́dho yásyāhúḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 19
yásmād ŕ̥co apā́takṣan yájur yásmād apā́kaṣan
sā́māni yásya lómāny atharvāṅgiráso múkhaṃ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 20
asaccākhā́ṃ pratíṣṭhantīṃ paramám iva jánā viduḥ
utó sán manyanté 'vare yé te śā́khām upā́sate 21
yátrādityā́ś ca rudrā́ś ca vásavaś ca samā́hítāḥ
bhūtáṃ ca yátra bhávyaṃ ca sárve lokā́ḥ prátiṣṭhitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 22
yásya tráyastriṃśad devā́ nidhíṃ rákṣanti sarvadā́
nidhíṃ tám adyá kó veda yáṃ devā abhirákṣatha 23
yátra devā́ brahmavído bráhma jyeṣṭhám upā́sate
yó vái tā́n vidyā́t pratyákṣaṃ sá brahmā́ véditā syāt 24
br̥hánto nā́ma té devā́ yé 'sataḥ pári jajñiré
ékaṃ tád áṅgaṃ skambhásyā́sad āhuḥ paró jánāḥ 25
yátra skambháḥ prajanáyan purāṇáṃ vyávartayat
ékaṃ tád áṅgaṃ skambhásya purāṇám anusáṃviduḥ 26
yásya tráyastriṃśad devā́ áṅge gā́trā vibhejiré
tā́n vái tráyastriṃśad devā́n éke brahamvído viduḥ 27
hiraṇyagarbhám paramám anatyudyáṃ jánā viduḥ
skambhás tád ágre prā́siñcad dhíraṇyaṃ loké antarā́ 28
skambhé lokā́ḥ skambhé tápaḥ skambhé 'dhy r̥tám ā́hitam
skámbha tvā́ veda pratyákṣam índre sárvaṃ samā́hitam 29
índre lokā́ índre tápa índre 'dhy r̥tám ā́hitam
índraṃ tvā́ veda pratyákṣaṃ skambhé sárvaṃ prátiṣṭhitam 30
nā́ma nā́mnā johavīti purā́ sū́ryāt puróṣásaḥ
yád ajáḥ prathamáṃ saṃbabhū́va sá ha tát svarā́jyam iyāya yásmān nā́nyát páram ásti bhūtám 31
yásya bhū́miḥ pramā́ntárikṣam utódáram
dívaṃ yáś cakré mūrdhā́naṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 32
yásya sū́ryaś cákṣuś candrámāś ca púnarṇavaḥ
agníṃ yáś cakrá āsyàṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 33
yásya vā́taḥ prāṇāpānáu cákṣur áṅgirasó 'bhavan
díśo yáś cakré prajñā́nīs tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 34
skambhó dādhāra dyā́vāpr̥thivī́ ubhé imé skambhó dādhārorv àntárikṣam
skambhó dādhāra pradíśaḥ ṣáḍ urvī́ḥ skambhá idáṃ víśvaṃ bhúvanam ā́ viveśa 35
yáḥ śrámāt tápaso jātó lokā́nt sárvānt samānaśé
sómaṃ yáś cakré kévalaṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 36
katháṃ vā́to nélayati katháṃ ná ramate mánaḥ
kím ā́paḥ satyáṃ prépsantīr nélayanti kadā́ caná 37
mahád yakṣáṃ bhúvanasya mádhye tápasi krāntáṃ salilásya pr̥ṣṭhé
tásmin chrayante yá u ké ca devā́ vr̥kṣásya skándhaḥ paríta iva śā́khāḥ 38
yásmai hástābhyāṃ pā́dābhyāṃ vācā́ śrótreṇa cákṣuṣā
yásmai devā́ḥ sádā balíṃ prayáchanti vímité 'mitaṃ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 39
ápa tásya hatáṃ támo vyā́vr̥ttaḥ sá pāpmánā
sárvāṇi tásmin jyótīṃṣi yā́ni trī́ṇi prajā́patau 40
yó vetasáṃ hiraṇyáyaṃ tiṣṭhantaṃ salilé véda
sá vái gúhyaḥ prajā́patiḥ 41
tantrám éke yuvatī́ vírūpe abhyākrā́maṃ vayataḥ ṣáṇmayūkham prā́nyā́ tántūṃs tiráte dhatté anyā́ nā́pa vr̥ñjāte ná gamāto ántam 42
táyor aháṃ parinŕ̥tyantyor iva ná ví jānāmi yatarā́ parástāt
púmān enad vayaty úd gr̥ṇanti púmān enad ví jabhārā́dhi nā́ke 43
imé mayū́khā úpa tastabhur dívaṃ sā́māni cakrus tásarāṇi vā́tave 44
kásminn áṅge tápo asyā́dhi tiṣṭhati kásminn áṅga r̥tám asyā́dhy ā́hitam
kvà vratáṃ kvà śraddhā́sya tiṣṭhati kásminn áṅge satyám asya prátiṣṭhitam 1
kásmād áṅgād dīpyate agnír asya kásmād áṅgāt pavate mātaríśva
kásmād áṅgād ví mimīté 'dhi candrámā mahá skambhásya mímāno áṅgam 2
kásminn áṅge tiṣṭhati bhū́mir asya kásminn áṅge tiṣṭhaty antárikṣam
kásminn áṅge tiṣṭhaty ā́hitā dyáuḥ kásminn áṅge tiṣṭhaty úttaraṃ diváḥ 3
kvà prépsan dīpyata ūrdhvó agníḥ kvà prépsan pavate mātaríśvā
yátra prépsantīr abhiyánty āvŕ̥taḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 4
kvā̀rdhamāsā́ḥ kvà yanti mā́sāḥ saṃvatsaréṇa sahá saṃvidānā́ḥ
yátra yánty r̥távo yátrārtavā́ḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 5
kvà prépsantī yuvatī́ vírūpe ahorātré dravataḥ saṃvidāné
yátra prépsantīr abhiyánty ā́paḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 6
yásmint stabdhvā́ prajā́patir lokā́nt sárvām̐ ádhārayat
skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 7
yát paramám avamám yác ca madhyamáṃ prajā́patiḥ sasr̥jé viśvárūpam
kíyatā skambháḥ prá viveśa tátra yán ná prā́viśat kíyat tád babhūva 8
kíyatā skambháḥ prá viveśa bhūtám kíyad bhaviṣyád anvā́śaye 'sya
ékaṃ yád áṅgam ákr̥ṇot sahasradhā́ kíyatā skambháḥ prá viveśa tátra 9
yátra lokā́mś ca kóśāṃś cā́po bráhma jánā vidúḥ
ásac ca yátra sác cāntá skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 10
yátra tápaḥ parākrámya vratáṃ dhāráyaty úttaram
r̥táṃ ca yátra śraddhā́ cā́po bráhma samā́hitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 11
yásmin bhū́mir antárikṣaṃ dyáur yásminn ádhy ā́hitā
yátrāgníś candrámāḥ sū́ryo vā́tas tiṣṭhanty ā́rpitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 12
yásya tráyastriṃśad devā́ áṅge sárve samā́hitāḥ
skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 13
yátra ŕ̥ṣayaḥ prathamajā́ ŕ̥caḥ sā́ma yájur mahī́
ekarṣír yásminn ā́rpitaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 14
yátrāmŕ̥taṃ ca mr̥tyúś ca púruṣé 'dhi samā́hite
samudró yásya nāḍyàḥ púruṣé 'dhi samā́hitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 15
yásya cátasraḥ pradíśo nāḍyàs tíṣṭhanti prathamā́ḥ
yajñó yátra párākrāntaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 16
yé púruṣe bráhma vidús té viduḥ parameṣṭhínam
yó véda parameṣṭhínaṃ yáś ca véda prajā́patim
jyeṣṭháṃ yé brā́hmaṇaṃ vidús te skambhám anusáṃviduḥ 17
yásya śíro vaiśvānaráś cákṣur áṅgirasó 'bhavan
áṅgāni yásya yātávaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 18
yásya bráhma múkham āhúr jihvā́ṃ madhukaśā́m utá
virā́jam ū́dho yásyāhúḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 19
yásmād ŕ̥co apā́takṣan yájur yásmād apā́kaṣan
sā́māni yásya lómāny atharvāṅgiráso múkhaṃ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 20
asaccākhā́ṃ pratíṣṭhantīṃ paramám iva jánā viduḥ
utó sán manyanté 'vare yé te śā́khām upā́sate 21
yátrādityā́ś ca rudrā́ś ca vásavaś ca samā́hítāḥ
bhūtáṃ ca yátra bhávyaṃ ca sárve lokā́ḥ prátiṣṭhitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 22
yásya tráyastriṃśad devā́ nidhíṃ rákṣanti sarvadā́
nidhíṃ tám adyá kó veda yáṃ devā abhirákṣatha 23
yátra devā́ brahmavído bráhma jyeṣṭhám upā́sate
yó vái tā́n vidyā́t pratyákṣaṃ sá brahmā́ véditā syāt 24
br̥hánto nā́ma té devā́ yé 'sataḥ pári jajñiré
ékaṃ tád áṅgaṃ skambhásyā́sad āhuḥ paró jánāḥ 25
yátra skambháḥ prajanáyan purāṇáṃ vyávartayat
ékaṃ tád áṅgaṃ skambhásya purāṇám anusáṃviduḥ 26
yásya tráyastriṃśad devā́ áṅge gā́trā vibhejiré
tā́n vái tráyastriṃśad devā́n éke brahamvído viduḥ 27
hiraṇyagarbhám paramám anatyudyáṃ jánā viduḥ
skambhás tád ágre prā́siñcad dhíraṇyaṃ loké antarā́ 28
skambhé lokā́ḥ skambhé tápaḥ skambhé 'dhy r̥tám ā́hitam
skámbha tvā́ veda pratyákṣam índre sárvaṃ samā́hitam 29
índre lokā́ índre tápa índre 'dhy r̥tám ā́hitam
índraṃ tvā́ veda pratyákṣaṃ skambhé sárvaṃ prátiṣṭhitam 30
nā́ma nā́mnā johavīti purā́ sū́ryāt puróṣásaḥ
yád ajáḥ prathamáṃ saṃbabhū́va sá ha tát svarā́jyam iyāya yásmān nā́nyát páram ásti bhūtám 31
yásya bhū́miḥ pramā́ntárikṣam utódáram
dívaṃ yáś cakré mūrdhā́naṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 32
yásya sū́ryaś cákṣuś candrámāś ca púnarṇavaḥ
agníṃ yáś cakrá āsyàṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 33
yásya vā́taḥ prāṇāpānáu cákṣur áṅgirasó 'bhavan
díśo yáś cakré prajñā́nīs tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 34
skambhó dādhāra dyā́vāpr̥thivī́ ubhé imé skambhó dādhārorv àntárikṣam
skambhó dādhāra pradíśaḥ ṣáḍ urvī́ḥ skambhá idáṃ víśvaṃ bhúvanam ā́ viveśa 35
yáḥ śrámāt tápaso jātó lokā́nt sárvānt samānaśé
sómaṃ yáś cakré kévalaṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 36
katháṃ vā́to nélayati katháṃ ná ramate mánaḥ
kím ā́paḥ satyáṃ prépsantīr nélayanti kadā́ caná 37
mahád yakṣáṃ bhúvanasya mádhye tápasi krāntáṃ salilásya pr̥ṣṭhé
tásmin chrayante yá u ké ca devā́ vr̥kṣásya skándhaḥ paríta iva śā́khāḥ 38
yásmai hástābhyāṃ pā́dābhyāṃ vācā́ śrótreṇa cákṣuṣā
yásmai devā́ḥ sádā balíṃ prayáchanti vímité 'mitaṃ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 39
ápa tásya hatáṃ támo vyā́vr̥ttaḥ sá pāpmánā
sárvāṇi tásmin jyótīṃṣi yā́ni trī́ṇi prajā́patau 40
yó vetasáṃ hiraṇyáyaṃ tiṣṭhantaṃ salilé véda
sá vái gúhyaḥ prajā́patiḥ 41
tantrám éke yuvatī́ vírūpe abhyākrā́maṃ vayataḥ ṣáṇmayūkham prā́nyā́ tántūṃs tiráte dhatté anyā́ nā́pa vr̥ñjāte ná gamāto ántam 42
táyor aháṃ parinŕ̥tyantyor iva ná ví jānāmi yatarā́ parástāt
púmān enad vayaty úd gr̥ṇanti púmān enad ví jabhārā́dhi nā́ke 43
imé mayū́khā úpa tastabhur dívaṃ sā́māni cakrus tásarāṇi vā́tave 44
Translation:
1)Which of his members is the seat of Fervour: Which is the base of Ceremonial Order? Where in him standeth Faith? Where Holy Duty? Where, in what part of him is truth implanted?
2)Out of which member glows the light of Agni? Form which proceeds the breath of Mātarisvan? From which doth Chandra measure out his journey, travelling over Skambha's mighty body?
3)Which of his members is the earth's upholder? Which gives the middle air a base to rest on? Where, in which member is the sky established? Where hath the space above the sky its dwelling?
4)Whitherward yearning blazeth Agni upward? Whitherward yearning bloweth Mātarisvan? Who out of many, tell me, is that Skambha to whom with long- ing go the turning pathways?
5)Whitheward go the half-months, and, accordant with the full year, the months in their procession? Who out of many, tell me, is that Skambha to whom go seasons and the groups of seasons?
6)Whitherward yearning speed the two young Damsels, accordant, Day and Night, of different colour? Who out of many, tell me, is that Skambha to whom the Waters take their way with longing?
7)Who out of many, tell me, is that Skambha, On whom Prajāpati set up and firmly stablished all the worlds?
8)That universe which Prajāpati created, wearing all forms,, the highest, midmost, lowest, How far did Skambha penetrate within it? What portion did he leave unpenetrated?
9)How far within the past hath Skambha entered? How much of him hath reached into the future? That one part which he set in thousand places,—how far did Skambha penetrate within it?
10)Who out of many, tell me, is that Skambha in whom men recognize the Waters, Brahma, In whom they know the worlds and their enclosures, in whom are non-existence and existence?
11)Declare that. Skambha, who is he of many, In whom, exerting every power, Fervour maintains her loftiest vow; In whom are comprehended Law, Waters, Devotion and Belief
12)Who out of many, tell me, is that Skambha On whom as their foundation earth and firmament and sky are set; In whom as their appointed place rest Fire and Moon and Sun and Wind?
13)Who out of many, tell me, is that Skambha He in whose body are contained all three-and-thirty Deities?
14)Who out of many, tell me, is that Skambha. In whom the Sages earliest born, the Richas, Sāman, Yajus, Earth, and the one highest Sage abide?
15)Who out of many, tell me, is the Skambha. Who comprehendeth, for mankind, both immortality and death, He who containeth for mankind the gathered waters as his veins?
16)Who out of many, tell me, is that Skambha, He whose chief arteries stand there, the sky's four regions, he irk whom Sacrifice putteth forth its might?
17)They who in Purusha understand Brahma know Him who is. Supreme. He who knows Him who is Supreme, and he who knows the Lord of Life, These know the loftiest Power Divine, and thence know Skam- bha thoroughly.
18)Who out of many, tell me, is that Skambha Of whom Vaisvānara became the head, the Angirases his eye, and Yātus his corporeal parts?
19)Who out of many, tell me, is that Skambha Whose mouth they say is Holy Lore, his tongue the Honey- sweetened Whip, his udder is Virāj, they say?
20)Who out of many, tell me, is that Skambha From whom they hewed the richas off, from whom they chipped the Yajus, he Whose hairs are Sāma-verses and his mouth the Atharvāngirases?
21)Men count as 'twere a thing supreme nonentity's conspicuous branch; And lower man who serve thy branch regard it as an entity.
22)Who out of many, tell me, is that Skambha In whom Ādityas dwell, in whom Rudras and Vasus are contained, In whom the future and the past and all the worlds are firmly set;
23)Whose secret treasure evermore the three-and thirty Gods protect? Who knoweth now the treasure which, O Deities ye watch and guard?
24)Where the Gods, versed in Sacred Lore, worship the loftiest Power Divine The priest who knows them face to face may be a sage who knows the truth.
25)Great, verily, are those Gods who sprang from non-existence into life. Further, men say that that one part of Skambha is nonentity.
26)Where Skambha generating gave the Ancient World its shape and form, They recognized that single part of Skambha as the Ancient World,
27)The three-and-thirty Gods within his body were disposed as limbs: Some, deeply versed in Holy Lore, some know those three-and- thirty Gods.
28)Men know Hiranyagarbha as supreme and inexpressible: In the beginning, in the midst of the world, Skambha poured that gold.
29)On Skambha Fervour rests, the worlds and Holy Law repose on him. Skambha, I clearly know that all of thee on Indra is imposed.
30)On Indra Fervour rests, on him the worlds and Holy Law recline. Indra, I clearly know that all of thee on Skambha findeth rest.
31)Ere sun and dawn man calls and calls one Deity by the other's name. When the Unborn first sprang into existence he reached that independent sovran lordship; than which aught higher never hath arisen.
32)Be reverence paid to him, that highest Brahma, whose base is Earth, his belly Air, who made the sky to be his head.
33)Homage to highest Brahma, him whose eye is Sūrya and the Moon who groweth young and new again, him who made Agni for his mouth.
34)Homage to highest Brahma, him whose two life-breathings were the Wind, The Angirases his sight: who made the regions be his means of sense.
35)Skambha set fast these two, the earth and heaven, Skambha maintained the ample air between them. Skambha established the six spacious regions: this whole world Skambha entered and pervaded.
36)Homage to highest Brahma, him who, sprung from Fervour and from toil, Filled all the worlds completely, who made Soma for himself alone.
37)Why doth the Wind move ceaselessly? Why doth the spirit take no rest? Why do the Waters, seeking truth, never at any time repose?
38)Absorbed in Fervour, is the mighty Being, in the world's centre, on the waters' surface. To him the Deities, one and all betake them. So stand the tree- trunk with the branches round it.
39)Who out of many, tell me, is that Skambha. To whom the Deities with hands, with feet, and voice, and ear, and eye. Present unmeasured tribute in the measured hall of sacrifice?
40)Darkness is chased away from him: he is exempt from all dist- ress. In him are all the lights, the three abiding in Prajāpati.
42)Singly the two young Maids of different colours approach the six-pegged warp in turns and weave it. The one draws out the threads, the other lays them: they break them not, they reach no end of labour.
43)Of these two, dancing round as 'twere, I cannot distinguish whether ranks before the other. A Male in weaves this web, a Male divides it: a Male hath stretched it to the cope of heaven
44)These pegs have buttressed up the sky. The Sāmans have turned them into shuttles for the weaving.
A rendering of the Skhamba Sukta Sivalinga in sculpture is presented in the Airavatesvara temple of Darasuram. On this sculptural frieze, Brahma as hamsa is searching for the end of the fiery pillar of light in the heavens and Vishnu as VarAha is searching for the beginning of the fiery pillar of light in the bowels of the earth. This endless, beginningless cosmic pillar is the ultimate in philosophical quest for transformation from Being to Becoming -- the summum bonum nihs'reyas, of all cosmic phenomena, of consciousness phenomena.
S. Kalyanaraman
Sarasvati Research Center
November 26, 2015