--Archaeology of चैतन्यमात्मा, Śiva Sūtrāṇi, नाचण्याचा गाण्याचा फड 'guild merriment, dancers' shop', phaḍa, 'public metals manufactory', kammaṭa 'mint', kamaḍha 'penance' documented in Indus Scritpt Cipher
--Vrātam Vrātam gaṇam gaṇam, guilds of artisans, seafaring merchants.
--Wealth of a Rāṣṭram venerated in Rāṣṭrī suktam (RV 10.125) is a prayer to आत्मन्'principle of life' which is चेतना'consciousness'.
karaṇa 'dance posture' explains role of Gaṇeśa rebus as a karaṇa 'scribe' of the Great Epic Mahābhārata.
karaṇa 'dance posture' explains role of Gaṇeśa rebus as a karaṇa 'scribe' of the Great Epic Mahābhārata.
चैतन्यमात्मा॥१॥1.3 Śiva Sūtra of Vasugupta. Pavel Celba translates the Sutra as: Enlightened ātman (See the early semantics provided by Monier-Willliams as 'principle of life and sensation').
I suggest that the expression should translate as: आत्मन् 'principle of life' which is चेतना 'consciousness'.
The key is the metaphorical exposition of the words atman and pada.
आत्मन् (variously derived fr. अन् , to breathe ; अत् , to move ; वा , to blow ; cf. त्म्/अन्) the breath RV.; principle of life and sensation RV. AV. &c; self , abstract individual [e.g. आत्म्/अन् (Ved. loc.) धत्ते , or करोति , " he places in himself " , makes his own TS. v S3Br. ; आत्मना अकरोत् , " he did it himself " Ka1d. ; आत्मना वि- √युज् , " to lose one's life " Mn. vii , 46 ; आत्मन् in the sg. is used as reflexive pronoun for all three persons and all three genders e.g. आत्मानं सा हन्ति , " she strikes herself " ; पुत्रम् आत्मनः स्पृष्ट्वा निपेततुः , " they two having touched their son fell down " R. ii , 64 , 28 (Monier-Williams)
पद a step , pace , stride; a footstep , trace , vestige , mark , the foot itself , RV. &c (पदेन , on foot ; पदे पदे , at every step , everywhere , on every occasion ; त्रीणि पदानि विष्णोः , the three steps or footprints of विष्णु [i.e. the earth , the air , and the sky ; cf. RV. i , 154 , 5 Vikr. i , 19], also N. of a constellation or according to some " the space between the eyebrows " ; sg. विष्णोः पदम् N.of a locality ; पदं- √दा,पदात् पदं- √गम् or √चल् , to make a step , move on ; पदं- √कृ , with loc. to set foot in or on , to enter ; with मूर्ध्नि , to set the foot upon the head of [gen.] i.e. overcome ; with चित्ते or हृदये , to take possession of any one's heart or mind ; with loc. or प्रति , to have dealings with ; पदं नि- √धा with loc. , to set foot in = to make impression upon ; with पदव्याम् , to set the foot on a person's [gen. or ibc.] track , to emulate or equal ; पदम् नि- √बन्ध्with loc. , to enter or engage in); a ray of light (Monier-Williams)
चैतन्य n. (fr. च्/एतन) consciousness MBh. xiv , 529 Sus3r. i , 21 , 24. &c; intelligence , sensation , soul , spirit (कपिल 's सांख्य-प्रवचन) iii , 20 (सांख्यकारिका); चेतन mf(/ई)n. visible , conspicuous , distinguished , excellent RV. AV. ix , 4 , 21; percipient , conscious , sentient , intelligent Kat2hUp. v , 13 S3vetUp. vi , 13 Hariv. 3587 KapS. Tattvas. &c; n. conspicuousness RV. i , 13 , 11 and 170 , 4 ; iii , 3 , 8 ; iv , 7 , 2; चेतना f. consciousness , understanding , sense , intelligence Ya1jn5. iii , 175 MBh. &c (often ifc. [f(आ).] Mn. ix , 67 MBh. &c ) (cf. अ- , निश्- , पुरु-च्/एत्° , वि- , स- , स्/उ-).
"Somānanda (850-900 CE), the first Dārśanakāra of Monistic Kashmir Śaivism is hailed as the first logical exponent of Pratyabhijnā- śāstra. Abhinava Gupta (960-1015 CE) compliments him in the Tantrāloka (I.10) as:
The special feature of Pratyabhijnā as a path to Mokṣa is that it does not involve physical exertion such as Praṇāyāma, Bandha etc., as in Yoga, and the renunciation of the world as was expected in the pathways to Mokṣa detailed in Vasugupta’s Śiva Sutra.(825-850 CE)" (Ganesh Vasudev Tagare, 2002, The Pratyabhijn ā Philosophy, Motilal Banarsidass Publishers, pp.10-11)
"Pratyabhijna (Sanskrit: प्रत्यभिज्ञा pratyabhijñā, lit. "re-cognition") is an idealistic monistic and theistic school of philosophy in Kashmir Shaivism, originating in the 9th century CE...Etymologically, Pratyabhijna is formed from prati – "something once known, now appearing as forgotten", abhi – "immediate" and jñā – "to know". So, the meaning is direct knowledge of one's self, recognition. The philosophy is continuation of the Vedic knowledge.,,The central thesis of this philosophy is that everything is Śiva, absolute consciousness, and it is possible to re-cognize this fundamental reality and be freed from limitations, identified with Shiva and immersed in bliss. Thus, the slave (pasu - the human condition) becomes the master (pati - the divine condition)." (Jaideva Singh. Pratyabhijñāhrdayam, p.117; S. Kapoor. The Philosophy of Saivism, p.254).
https://en.wikipedia.org/wiki/Pratyabhijna This ādhyātmikā framework of Vasugupta in the Veda tradition is amplified in प्रत्यभिज्ञा pratyabhijñā school of Kashmir Śaiva Siddhānta. The focus is attainment of mokṣa or nihśreyas, uniting the ātman with the paramātman. This is the framework of Pavel Celba's commentary on Śiva Sūtrāṇi of Vasugupta which provides the metaphor of Śiva pada which evokes the cosmic dance, tāṇḍava nr̥tyam as a series of padāni, dance-steps.
Orthography of dot, circle,strand in Indus Script Corpora: चित्त-वृत्ति gyrations of mind
चित्त " appeared " , visible RV. ix , 65 , 12; n. attending , observing (तिर्/अश् चित्त्/आनि , " so as to remain unnoticed ") , vii , 59 , 8
See the dotted circle hieroglyph on the bottom of the sacred device, sangaḍa
Kot Diji type seals with concentric circles from (a,b) Taraqai Qila (Trq-2 &3, after CISI 2: 414), (c,d) Harappa(H-638 after CISI 2: 304, H-1535 after CISI 3.1:211), and (e) Mohenjo-daro (M-1259, aftr CISI 2: 158). (From Fig. 7 Parpola, 2013).
Distribution of geometrical seals in Greater Indus Valley during the early and *Mature Harappan periods (c. 3000 - 2000 BCE). After Uesugi 2011, Development of the Inter-regional interaction system in the Indus valley and beyond: a hypothetical view towards the formation of the urban society' in: Cultural relagions betwen the Indus and the Iranian plateau during the 3rd millennium BCE, ed. Toshiki Osada & Michael Witzel. Harvard Oriental Series, Opera Minora 7. Pp. 359-380. Cambridge, MA: Dept of Sanskrit and Indian Studies, Harvard University: fig.7
Dotted circles and three lines on the obverse of many Failaka/Dilmun seals are read rebus as hieroglyphs:
Hieroglyph: ḍāv m. ʻdice-throwʼ rebus: dhāu 'ore'; dã̄u ʻtyingʼ, ḍāv m. ʻdice-throwʼ read rebus: dhāu 'ore' in the context of glosses: dhā̆vaḍ m. ʻa caste of iron -smelters', dhāvḍī ʻcomposed of or relating to ironʼ. Thus, three dotted circles signify: tri-dhāu, tri-dhātu 'three ores' (copper, tin, iron).
A (गोटा) gōṭā Spherical or spheroidal, pebble-form. (Marathi) Rebus: khoṭā ʻalloyedʼ (metal) (Marathi) खोट [khōṭa] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge (Marathi). P. khoṭ m. ʻalloyʼ (CDIAL 3931) goTa 'laterite ferrite ore'.
The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5 sides A to F. Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features. Rebus readings of m0352 hieroglyphs:dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'
1. Round dot like a blob -- . Glyph: raised large-sized dot -- (gōṭī ‘round pebble);goTa 'laterite (ferrite ore)
2. Dotted circle khaṇḍa ‘A piece, bit, fragment, portion’; kandi ‘bead’;
3. A + shaped structure where the glyphs 1 and 2 are infixed. The + shaped structure is kaṇḍ ‘a fire-altar’ (which is associated with glyphs 1 and 2)..
Rebus readings are: 1. khoṭ m. ʻalloyʼgoTa 'laterite (ferrite ore); 2. khaṇḍā ‘tools, pots and pans and metal-ware’; 3. kaṇḍ ‘furnace, fire-altar, consecrated fire’.
Four ‘round spot’; glyphs around the ‘dotted circle’ in the center of the composition: gōṭī ‘round pebble; Rebus 1: goTa 'laterite (ferrite ore); Rebus 2:L. khoṭf ʻalloy, impurityʼ, °ṭā ʻalloyedʼ, awāṇ. khoṭā ʻforgedʼ; P. khoṭ m. ʻbase, alloyʼ M.khoṭā ʻalloyedʼ (CDIAL 3931) Rebus 3: kōṭhī ] f (कोष्ट S) A granary, garner, storehouse, warehouse, treasury, factory, bank. khoṭā ʻalloyedʼ metal is produced from kaṇḍ ‘furnace, fire-altar’ yielding khaṇḍā ‘tools, pots and pans and metal-ware’. This word khaṇḍā is denoted by the dotted circles.
Consistent with the definition in yogasūtra, yoga योग: चित्त-वृत्ति निरोध: yogaś citta-vṛtti-nirodhaḥ— Yoga Sutras 1.2 (Translation: "Yoga is the inhibition (nirodhaḥ) of the modifications (vṛtti) of the mind (citta)") yoga has two semantic streams: 1. training of the mind to focus attention and 2. human initiative or activity. One results in meditation an the other in human activities to keep fit, practices such as farming and other activities for prosperity. These two semantic streams are demonstrated by the meanings of yoga-related expressions in almost all ancient languages of Bhāratam. Yoga thus means yoking, work, employment in R̥gveda with semantic expansions to signify acquisition of wealth and property as a result of human initiatives performed with yogic concentration or steadfastness of mind:
Archaeology of Yoga and bhūtaYajña, evidences of metalwork
yogāsana polstures shown on the following seals/tablets (dated ca. between 2500 to 1900 BCE) should have originated earlier to ca. 2500 BCE and continued into the historical periods from the days of the civilization which produced these images on seals and tablets. McEvilley demonstrates that the unique āsana shown orthographically on the seals/tablets is consistent with Yogic literature exemoplified in the Haṭha Yoga Pradīpikā I.53-54. (Thomas McEvilley, 1981, RES: Anthropology and AestheticsNo. 1 (Spring, 1981), p.49) http://www.jstor.org/stable/20166655
Text on obverse of the tablet m453A: Text 1629. m453BC Seated in penance, the person is flanked on either side by a kneeling adorant, offering a pot and a hooded serpent rearing up. फड, phaḍa, '
Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro (DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA 1994:Fig. 10.9); courtesy of the Archaeological Survey of India; c. horned deity surrounded by animals, Mohenjo-daro (JOSHI – PARPOLA 1987:M-304); courtesy of the Archaeological Survey of India.
I suggest that are many hieroglyphs constituting a hypertext on this male statue of Mohenjo-daro. This monograph demonstrates that the statue signifies Potr̥ 'Purifier priest' in R̥gveda tradition of performance of yajña. The rationale, validation for linking with R̥gveda tradition is provided by the Binjor discovery in 2015 of a yajña kuṇḍa together with aṣṭāśri yūpa which is consistent with the texts of R̥gvedaand Śatapatha Brāhmaṇa. Together with the discovery of what tantamounts to a yūpa inscription is the discovery of Indus Script seals with the readings of wealth accounting ledgers of metalwork.aṣṭāśri yūpa is a ketu केतु sign , mark , ensign , flag , banner (R̥gveda) -- a proclamation of the performance of a Soma Samsthā yajña. Details have been provided in the 1035 monographs at
https://independent.academia.edu/SriniKalyanaraman and in Epigraphia Indus Script -- Hypertexts & Meanings(2017)
The hieroglyphs are: 1) Dotted circle (circular inlay ornament) looks like a
2) bead is worn like a
3) fillet tied to a
4) String; the fillet bands fall like a
5) scarf
6) shawl cloth worn with right-shoulder bare is decorated with
7) one, two, three dotted circles
With the following hieroglyph components read rebus in Meluhha, the hypertext is:
Component 1: dhā 'strand' + vaṭa 'string' rebus: vatta n. ʻduty, officeʼ(Pali) rebus: धावडी [ dhāvaḍī ] a Relating to the class धावड, 'smelter'. (Semantic determinative: dhāṭ(h)u 'scarf' (WPah.) rebus: dhāṭu 'mineral ore')
Thus, together, the Indus Script hypertext of the Priest statue reads: Potr̥ dhāvaḍa phaḍā 'Purifier priest, smelter, metals manufactory'. The process of purification in Agni makes the entire process sacred, divine -- an act of daivam, 'divinity'.
Since one, two, three dotted circles adorn the uttarīyam, 'upper garment' of the Priest is a smelter of three types of mineral ores, tri-dhātu 'three strands' rebus: tri-dhātu 'three minerals'; the minerals are:goṭa 'laterite, ferrite ore', bicha 'haematite, ferrite ore', poḷa 'magnetite, ferriteore'. Three hieroglyphs of Indus Script cipher which signify these minerals are: goṭa 'round pebble, stone', bica 'scorpion', poḷa'zebu, bos indicus'.
What is the priest called in Meluhha? The answer is provided by the R̥gveda tradition of yajña. Hieroglyph: potta 'cloth' rebus: Potr̥ पोतृ प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; =यज्ञस्य शोधयिट्रि Sa1y. ) (R̥g Veda Brāhmaṇa, Śrautasūtra.हरिवंश). पोतन a. 1 Sacred, holy. -2 Purifying. The title of Pallavakings may link with the sacred purification process: போத்தரசர் pōttaracar , n. prob. போத்து¹ +. A title of the Pallava kings; பல்லவர் பட்டப்பெயர்களி லொன்று. மயேந்திரப் போத்தரசர் (S. I. I . ii, 341.)
I suggest that that Potr̥ the Purifier priest is the dhā̆vaḍ 'iron-smelter' who purifies (smelts) the ores to produce wealth of metal. Agni is the purifying medium.
1.Hieroglyph: A. dotted circle: dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜; B. Throw of dice: dāˊtu n. ʻ share ʼ RV. [Cf. śatádātu -- , sahásradātu -- ʻ hun- dredfold, thousandfold ʼ: Pers. dāv ʻ stroke, move in a game ʼ prob. ← IA. -- √dō ] K. dāv m. ʻ turn, opportunity, throw in dice ʼ; S. ḍ̠ã̄u m. ʻ mode ʼ; L. dā m. ʻ direction ʼ, (Ju.) ḍ̠ā, ḍ̠ã̄ m. ʻ way, manner ʼ; P. dāu m. ʻ ambush ʼ; Ku. dã̄w ʻ turn, opportunity, bet, throw in dice ʼ, N. dāu; B. dāu, dã̄u ʻ turn, opportunity ʼ; Or. dāu, dāũ ʻ opportunity, revenge ʼ; Mth. dāu ʻ trick (in wrestling, &c.) ʼ; OAw. dāu m. ʻ opportunity, throw in dice ʼ; H. dāū, dã̄w m. ʻ turn ʼ; G.dāv m. ʻ turn, throw ʼ, ḍāv m. ʻ throw ʼ; M. dāvā m. ʻ revenge ʼ. -- NIA. forms with nasalization (or all NIA. forms) poss. < dāmán -- 2 m. ʻ gift ʼ RV., cf. dāya -- m. ʻ gift ʼ MBh., akṣa -- dāya-- m. ʻ playing of dice ʼ Naiṣ.(CDIAL 6258) தாயம் tāyam , n. < dāya. A fall of the dice; கவறுருட்ட விழும் விருத்தம். முற்பட இடுகின்ற தாயம் (கலித். 136, உரை). 5. Cubical pieces in dice-play; கவறு. (யாழ். அக.) 6. Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண். Colloq. rebus: 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., Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; 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 (CDIAL 6773) Semantic determinative.
2. Hieroglyph bead: *pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. potm. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1 .(CDIAL 8403) rebus: Potr̥ 'Purifier priest' (R̥gveda) Semantic determinative)
3. Hieroglyph: a)Fillet: paṭṭa2 m. ʻ cloth, woven silk ʼ Kāv., ʻ bandage, fillet turban, diadem ʼ MBh. [Prob. like paṭa -- and *phēṭṭa -- 1 from non -- Aryan source, of which *patta -- in Gy. and *patra-- in Sh. may represent aryanization of paṭṭa -- . Not < páttra -- nor, with P. Tedesco Archaeologica Orientalia in Memoriam Ernst Herzfeld 222, < *pr̥ṣṭa<-> ʻ woven ʼ, while an assumed borrowing from IA. in Bur. ph*l lto -- čiṅ ʻ puttees ʼ is too flimsy a basis for *palta -- (~ Eng. fold, &c.) as the source NTS xiii 93]
Pa. paṭṭa -- m. ʻ woven silk, fine cloth, cotton cloth, turban ʼ, °ṭaka -- ʻ made of a strip of cloth ʼ, n. ʻ bandage, girdle ʼ, °ṭikā -- f.; NiDoc. paṭa ʻ roll of silk ʼ Lüders Textilien 24; Pk. paṭṭa -- m. ʻ cloth, clothes, turban ʼ; Paš. paṭā ʻ strip of skin ʼ, ar. weg. paṭīˊ ʻ belt ʼ; Kal.rumb. pāˊṭi ʻ scarf ʼ; Phal. paṭṭaṛa ʻ bark ʼ; K. paṭh, dat. °ṭas m. ʻ long strip of cloth from loom ʼ, poṭ1. Pk. pōa -- n. ʻ cloth ʼ; Paš.ar. pōwok ʻ cloth ʼ, pō
2. Pk. potta -- , °taga -- , °tia -- n. ʻ cotton cloth ʼ, pottī -- , °tiā -- , °tullayā -- , puttī -- f. ʻ piece of cloth, man's dhotī, woman's sāṛī ʼ, pottia -- ʻ wearing clothes ʼ; S. potī f. ʻ shawl ʼ, potyo m. ʻ loincloth ʼ; L. pot, pl. °tã f. ʻ width of cloth ʼ; P. potṛā m. ʻ child's clout ʼ, potṇā ʻ to smear a wall with a rag ʼ; N. poto ʻ rag to lay on lime -- wash ʼ, potnu ʻ to smear ʼ; Or. potā ʻ gunny bag ʼ; OAw. potaï ʻ smears, plasters ʼ; H. potā m. ʻ whitewashing brush ʼ, potī f. ʻ red cotton ʼ, potiyā m. ʻ loincloth ʼ, potṛā m. ʻ baby clothes ʼ; G. pot n. ʻ fine cloth, texture ʼ, potũ n. ʻ rag ʼ, potī f., °tiyũ n. ʻ loincloth ʼ, potṛī f. ʻ small do. ʼ; M. pot m. ʻ roll of coarse cloth ʼ, n. ʻ weftage or texture of cloth ʼ, potrẽ n. ʻ rag for smearing cowdung ʼ.3. Pa. potthaka -- n. ʻ cheap rough hemp cloth ʼ, potthakamma -- n. ʻ plastering ʼ; Pk. pottha -- , °aya -- n.m. ʻ cloth ʼ; S. potho m. ʻ lump of rag for smearing, smearing, cloth soaked in opium ʼ.4. Pa. ponti -- ʻ rags ʼ. 5. Wg. pōč ʻ cotton cloth, muslin ʼ, Kt. puč; Pr. puč ʻ duster, cloth ʼ, pūˊčuk ʻ clothes ʼ; S. poco m. ʻ rag for plastering, plastering ʼ; P. poccā m. ʻ cloth or brush for smearing ʼ, pocṇā ʻ to smear with earth ʼ; Or. pucā̆ra, pucurā ʻ wisp of rag or jute for whitewashing with, smearing with such a rag ʼ.(CDIAL 8400) Ta. potti garment of fibres, cloth. Ka. potti cloth. Te. potti bark, a baby's linen, a sort of linen cloth; pottika a small fine cloth; podugu a baby's linen. Kol. (SSTW) pot sari. Pa. bodgida short loincloth. / Cf. Skt. potikā-, Pkt. potti-, pottiā-, etc.; Turner, CDIAL, no. 8400.(DEDR 4515) rebus: Potr̥ 'Purifier priest' (R̥gveda) Semantic determinative) Ta. pōṟṟu (pōṟṟi-) to praise, applaud, worship, protect, cherish, nourish, entertain; n. protection, praise; pōṟṟi praise, applause; pōṟṟimai honour, reverence. Ma. pōṟṟuka to preserve, protect, adore; pōṟṟi nourisher, protector. (DEDR 4605) போற்றி pōṟṟi , < id. n. 1. Praise, applause, commendation; புகழ்மொழி. (
, n. < போற்றி. 1. Grandfather; பாட்டன். Tinn. 2. Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன்.
4. Hieroglyph: String: vaṭa 'string' rebus: vatta n. ʻduty, officeʼ(Pali)
5. Hieroglyph: Scarf: dhāṭ(h)u 'scarf' (WPah.): *dhaṭa2 , dhaṭī -- f. ʻ old cloth, loincloth ʼ lex. [Drav., Kan. daṭṭi ʻ waistband ʼ etc., DED 2465] Ku. dhaṛo ʻ piece of cloth ʼ, N. dharo, B. dhaṛā; Or. dhaṛā ʻ rag, loincloth ʼ, dhaṛi ʻ rag ʼ; Mth. dhariā ʻ child's narrow loincloth *dhaṭavastra -- .Addenda: *dhaṭa -- 2 . 2. †*dhaṭṭa -- : WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105).(CDIAL 6707) Rebus: dhatu 'mineral ore'.
6. Hieroglyph: Garment, paḍa 'cloth' (Pkt.): paṭa m. ʻ woven cloth ʼ MBh., °aka -- m., paṭikā -- f. lex., paṭīˊ -- f. Pāṇ.gaṇa. [Cf. paṭṭa- 2 , paṭṭa -- 3 , *palla -- 3 , pallava -- 2 . -- Prob. with karpaṭa -- and karpāsa -- ← Austro -- as. J. Przyluski BSL xxv 70; less likely with A. Master BSOAS xi 302 ← Drav.] Pa. paṭa -- m., °ṭi -- , °ṭikā -- f. ʻ cloth, garment ʼ; Pk. paḍa<-> m. ʻ cloth ʼ, °ḍī -- , °ḍiyā -- f. ʻ a kind of garment ʼ; Wg. paṛīk ʻ shawl ʼ; S. paṛu m. ʻ covering of cloth for a saint's grave ʼ, paṛom. ʻ petticoat ʼ; Si. paḷa, pala ʻ cloth, garment ʼ, piḷiya ʻ cloth, clothes ʼ; Md. feli ʻ cotton cloth ʼ.(CDIAL 7692) rebus: phaḍā 'metals manufactory' (Semantic determinative)
7. tri-dhātu 'three strands' rebus: tri-dhātu 'three minerals'
Material: white, low fired steatite
Dimensions: 17.5 cm height, 11 cm widthMohenjo-daro, DK 1909
National Museum, Karachi, 50.852
Marshall 1931: 356-7, pl. XCVIII
Seated male sculpture, or "Priest King" from Mohenjo-daro. Fillet or ribbon headband with circular inlay ornament on the forehead and similar but smaller ornament on the right upper arm. The two ends of the fillet fall along the back and though the hair is carefully combed towards the back of the head, no bun is present. The flat back of the head may have held a separately carved bun as is traditional on the other seated figures, or it could have held a more elaborate horn and plumed headdress.
Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved and a short combed beard frames the face. The large crack in the face is the result of weathering or it may be due to original firing of this object.
Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved and a short combed beard frames the face. The large crack in the face is the result of weathering or it may be due to original firing of this object.
The use of the fire-altar for ores is a process of purification. The purifier is पोतृ [p= 650,1] प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि Sa1y. ) RV. Br. S3rS. Hariv. போற்றி pōṟṟi, < id. n. 1. Praise, applause, commendation; புகழ்மொழி. (W .) 2.Brahman temple-priest of Malabar; கோயிற் பூசைசெய்யும் மலையாளநாட்டுப் பிராமணன். (W .) 3. See போத்தி, 1.--int. Exclamation of praise; துதிச்சொல்வகை. பொய்தீர் காட்சிப் புரையோய் போற்றி (சிலப். 13, 92).
धातु 1 [p=513,3] primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red colour) Mn. MBh.
&celement of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]).
धा to appoint , establish , constitute (R̥g Veda, Śatapatha Brāhmaṇa); to make , produce , generate , create , cause , effect , perform , execute (R̥g Veda, Taittirīya Brāhmaṇa, श्वेताश्वतर उपनिषद् (aor. with पूरयाम्,
मन्त्रयाम्,वरयाम् &c = पूरयाम् &c चकार)
वट a string , rope , tie L. (only वट ibc. , and पञ्च-व्° , q.v.); a small lump , globule &c = वटक (शार्ङ्गधर-संहिता); वटिन् mfn. stringed , having a string L.; circular, globular
WPah. bhal. k
WPah.bhal. jaṇṭḷoṛ m. ʻ long string round spinning wheel ʼ (CDIAL 10413)
Hieroglyph: vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√
Rebus: Duty: Pa. vatta -- n. ʻ duty, office ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- n. ʻ livelihood ʼ; P. buttā m. ʻ means ʼ; Ku. buto ʻ daily labour, wages ʼ; N. butā ʻ means, ability ʼ; H. oūtā m. ʻ power ʼ; Si. vaṭa ʻ subsistence, wages ʼ.(CDIAL 12069) Vatta
அக்கு³ akku , n. < akṣa. 1. Rudrākṣa
வளைமணிவடம் vaḷai-maṇi-vaṭam , n. < வளை +. A string of beads; அக்குவடம். திரு வரையிற் சாத்தின வளைமணிவடமானது (திவ். பெரி யாழ். 1, 7, 8, வ்யா. பக். 150).
கோவை kōvai: [T. M. kōva.] 1. Stringing, filing, arranging; கோக்கை. கோவை யார்வடக் கொழுங்கவடு (கம்பரா. வரைக். 1). 2. Series, succession, row; வரிசை. 3. String of ornamental beads for neck or waist; கோத்த வடம். (பிங்.)
தாவடம்¹ tāvaṭam , n. < தாழ்¹- + வடம். [T. tāvaḍamu.] 1. Sacred elæocarpus beads; உருத் திராக்க மாலை. கழுத்திலே தாவடம் மனத்திலே அவகடம். 2. Necklace; கழுத்திலணியுமாலை. Loc. 3. A mode of wearing the sacred thread round the neck like a garland; பூணூலை மாலையாகத் தரிக்குமுறை. Brāh.
தொடை² toṭai , n. < தொடு²-. Braiding, weaving; பின்னுகை. தொடையுறு வற்கலை யாடை (கம்பரா. முதற்போ. 109). 3. Unbroken succession or continuity; இடையறாமை. தொடையிழி யிறாலின் றேனும் (கம்பரா. நாட்டுப். 9). 4. Fastening, tying; கட்டுகை. தொடைமாண்ட கண்ணியன் (கலித். 37). 5. Series, train, suc- cession; தொடர்ச்சி. தாபதர் தொடைமறை முழக்கும் (கல்லா. 39, 10). 6. String; வடம். முத்துத்தொடை (பரிபா. 6, 16).
பச்சவடம் paccavaṭam
, n. perh. prac- chada-paṭa. [T. patccaḍamu, K. paccapaḍa, M.
paccavaṭam.] A long piece of cloth, used as a blanket, bedsheet or screen; மேற்போர்வை விரிப்பு திரை முதலியவற்றுக்கு உபயோகப்படும் நீண்ட சீலை. திருத்திரைப் பச்சவடம் (கோயிலொ. 94)., n. Sacred thread worn by dvijas; பூணூல். (யாழ். அக.)
வடக்கயிறு vaṭa-k-kayiṟu
, n. < வடம்¹ +. 1. Large, stout rope or cable, as for drawing a temple-car; தேர் முதலியவற்றை இழுக்கும் பெருங் கயிறு. வடக்கயிறு வெண்ணரம்பா (தாயு. சச்சிதா. 2). 2. Cord of the ēr-nāḻi; ஏர்நாழிக்கயிறு. (W .)
வடக்குவடக்கா-தல் vaṭakku-vaṭakkā-, v. intr. < வடம்¹ + வடம்¹ +. To become matted, as hair; மயிர் முதலியன சடைபற்றுதல். Loc.
dāˊman1 ʻ rope ʼ RV. 2. *dāmana -- , dāmanī -- f. ʻ long rope to which calves are tethered ʼ Hariv. 3. *dāmara -- .[*dāmara -- is der. fr. n/r n. stem. -- √dā 2 ]1. Pa. dāma -- , inst. °mēna n. ʻ rope, fetter, garland ʼ, Pk. dāma -- n.; Wg. dām ʻ rope, thread, bandage ʼ; Tir. dām ʻ rope ʼ; Paš.lauṛ.dām ʻ thick thread ʼ, gul. dūm ʻ net snare ʼ (IIFL iii 3, 54 ← Ind. or Pers.); Shum. dām ʻ rope ʼ; Sh.gil. (Lor.) dōmo ʻ twine, short bit of goat's hair cord ʼ, gur. dōm m. ʻ thread ʼ (→ Ḍ. dōṅ ʻ thread ʼ); K. gu -- dômu m. ʻ cow's tethering rope ʼ; P. dã̄u, dāvã̄ m. ʻ hobble for a horse ʼ; WPah.bhad. daũ n. ʻ rope to tie cattle ʼ, bhal. daõ m., jaun. dã̄w; A. dāmā ʻ peg to tie a buffalo -- calf to ʼ; B. dām,dāmā ʻ cord ʼ; Or. duã̄ ʻ tether ʼ, dāĩ ʻ long tether to which many beasts are tied ʼ; H. dām m.f. ʻ rope, string, fetter ʼ, dāmā m. ʻ id., garland ʼ; G. dām n. ʻ tether ʼ, M. dāvẽ n.; Si. dama ʻ chain, rope ʼ, (SigGr) dam ʻ garland ʼ. -- Ext. in Paš.dar. damaṭāˊ, °ṭīˊ, nir. weg. damaṭék ʻ rope ʼ, Shum. ḍamaṭik, Woṭ. damṓṛ m., Sv. dåmoṛīˊ; -- with -- ll -- : N. dāmlo ʻ tether for cow ʼ, dã̄wali, dāũli, dāmliʻ bird -- trap of string ʼ, dã̄wal, dāmal ʻ coeval ʼ (< ʻ tied together ʼ?); M. dã̄vlī f. ʻ small tie -- rope ʼ.2. Pk. dāvaṇa -- n., dāmaṇī -- f. ʻ tethering rope ʼ; S. ḍ̠āvaṇu, ḍ̠āṇu m. ʻ forefeet shackles ʼ, ḍ̠āviṇī, ḍ̠āṇī f. ʻ guard to support nose -- ring ʼ; L. ḍã̄vaṇ m., ḍã̄vaṇī, ḍāuṇī (Ju. ḍ̠ -- ) f. ʻ hobble ʼ, dāuṇī f. ʻ strip at foot of bed, triple cord of silk worn by women on head ʼ, awāṇ. dāvuṇ ʻ picket rope ʼ; P. dāuṇ, dauṇ, ludh. daun f. m. ʻ string for bedstead, hobble for horse ʼ, dāuṇī f. ʻ gold ornament worn on woman's forehead ʼ; Ku. dauṇo m., °ṇī f. ʻ peg for tying cattle to ʼ, gng. dɔ̃ṛ ʻ place for keeping cattle, bedding for cattle ʼ; A. danʻ long cord on which a net or screen is stretched, thong ʼ, danā ʻ bridle ʼ; B. dāmni ʻ rope ʼ; Or. daaṇa ʻ string at the fringe of a casting net on which pebbles are strung ʼ, dāuṇi ʻ rope for tying bullocks together when threshing ʼ; H. dāwan m. ʻ girdle ʼ, dāwanīf. ʻ rope ʼ, dã̄wanī f. ʻ a woman's orna<-> ment ʼ; G. dāmaṇ, ḍā° n. ʻ tether, hobble ʼ, dāmṇũ n. ʻ thin rope, string ʼ, dāmṇī f. ʻ rope, woman's head -- ornament ʼ; M. dāvaṇ f. ʻ picket -- rope ʼ. -- Words denoting the act of driving animals to tread out corn are poss. nomina actionis from *dāmayati 2 .3. L. ḍãvarāvaṇ, (Ju.) ḍ̠ã̄v° ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves together ʼ, Or. daũ̈rā, daürā ʻ rope ʼ; Bi. daũrī ʻ rope to which threshing bullocks are tied, the act of treading out the grain ʼ, Mth. dã̄mar, daũraṛ ʻ rope to which the bullocks are tied ʼ; H. dã̄wrī f. ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to tread out the corn ʼ. -- X *dhāgga <-> q.v.*dāmayati2 ; *dāmakara -- , *dāmadhāra -- ; uddāma -- , prōddāma -- ; *antadāmanī -- , *galadāman -- , *galadāmana -- , *gōḍḍadāman -- , *gōḍḍadāmana -- , *gōḍḍadāmara -- .dāmán -- 2 m. (f.?) ʻ gift ʼ RV. [√dā 1 ]. See dāˊtu -- .*dāmana -- ʻ rope ʼ see dāˊman -- 1 .Addenda: dāˊman -- 1 . 1. Brj. dã̄u m. ʻ tying ʼ.3. *dāmara -- : Brj. dã̄wrī f. ʻ rope ʼ.(CDIAL 6283)
தாமம்¹ tāmam
, n. < dāman. 1. Rope, cord, string; கயிறு. (பிங்.) 2. Line to tie cattle. See தாமணி. 3. Wreath, flower garland, chaplet, especially worn on shoulders; பூமாலை. (பிங்.) வண்டிமிருந் தாம வரைமார்ப (பு. வெ. 12, இருபாற். 3). 4. Necklace of beads; string, as of pearls; வடம். (பிங்.) முத்துத் தாம முறையொடு நாற்றுமின் (மணி. 1, 49). 5. Woman's waist ornament of 16 or 18 strings of beads; 18W.) 6. Row, line; ஒழுங்கு. தடமலர்த் தாம மாலை (சீவக. 1358). 7. Flower; பூ. (பிங்.) 8. An ornamental part of a crown, one of the five muṭi-y-uṟuppu, q. v.; முடியுறுப்புகள் ஐந்தனுள் ஒன்று. (திவா.) 9. Senna. See கொன்றை. (பிங்.)
Hieroglyph: Strand of string/rope: dhāˊtu ʻ *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) తాడు [ tāḍu ] or త్రాడు tādu. [Tel.] n. A cord, thread, string. A match for a gun. The palm tree, so called because cordage is made from it. See under తాటి. The cord of marriage, being the string round the bride's neck, from which the పుస్తె or tali is hung. Henceతాడు తెగిన (lit. cord broken) means widowed. అగ్గితాడు or జేనకితాడు a match, made of cord dipped in brimstone.
Rebus: 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)
paṭṭa2 m. ʻ cloth, woven silk ʼ Kāv., ʻ bandage, fillet turban, diadem ʼ MBh. [Prob. like paṭa -- and *phēṭṭa -- 1 from non -- Aryan source, of which *patta -- in Gy. and *patra -- in Sh. may represent aryanization of paṭṭa -- . Not < páttra -- nor, with P. Tedesco Archaeologica Orientalia in Memoriam Ernst Herzfeld 222, < *pr̥ṣṭa<-> ʻ woven ʼ, while an assumed borrowing from IA. in Bur. ph*l lto -- čiṅ ʻ puttees ʼ is too flimsy a basis for *palta -- (~ Eng. fold, &c.) as the source NTS xiii 93]Pa. paṭṭa -- m. ʻ woven silk, fine cloth, cotton cloth, turban ʼ, °ṭaka -- ʻ made of a strip of cloth ʼ, n. ʻ bandage, girdle ʼ, °ṭikā -- f.; NiDoc. paṭa ʻ roll of silk ʼ Lüders Textilien 24; Pk. paṭṭa -- m. ʻ cloth, clothes, turban ʼ; Paš. paṭā ʻ strip of skin ʼ, ar. weg. paṭīˊ ʻ belt ʼ; Kal.rumb. pāˊṭi ʻ scarf ʼ; Phal. paṭṭaṛa ʻ bark ʼ; K. paṭh, dat. °ṭas m. ʻ long strip of cloth from loom ʼ, poṭu m. ʻ woollen cloth ʼ, pôṭu m. ʻ silk, silk cloth ʼ (← Ind.?); S. paṭū m. ʻ silk ʼ, paṭū̃ m. ʻ a kind of woollen cloth ʼ, paṭo m. ʻ band of cloth ʼ, °ṭī f. ʻ bandage, fillet ʼ; L. paṭṭ m. ʻ silk ʼ, awāṇ. paṭṭī f. ʻ woollen cloth ʼ; P. paṭṭ m. ʻ silk ʼ, paṭṭī f. ʻ coarse woollen cloth, bandage ʼ; WPah.bhal. pe ṭṭu m. sg. and pl. ʻ woman's woollen gown ʼ; Ku. pāṭ ʻ silk ʼ; N. pāṭ ʻ flax, hemp ʼ; A. B. pāṭ ʻ silk ʼ (B. also ʻ jute ʼ); Or. pāṭa ʻ silk, jute ʼ, paṭā ʻ red silk cloth, sheet, scarf ʼ, (Bastar) pāṭā ʻ loincloth ʼ; Bhoj. paṭuā ʻ jute ʼ; OAw. pāṭa m. ʻ silk cloth ʼ; H. paṭ m. ʻ cloth, turban ʼ, paṭṭū m. ʻ coarse woollen cloth ʼ, paṭṭī f. ʻ strip of cloth ʼ, paṭkā m. ʻ loincloth ʼ; G. pāṭ m. ʻ strip of cloth ʼ, °ṭɔ m. ʻ bandage ʼ, °ṭī f. ʻ tape ʼ; Ko. pāṭṭo ʻ strap ʼ; Si. paṭa ʻ silk, fine cloth ʼ, paṭiya ʻ ribbon, girdle, cloth screen round a tent ʼ. -- Gy. rum. pato ʻ clothing ʼ, gr. patavo ʻ napkin ʼ, wel. patavō ʻ sock ʼ, germ. phār ʻ silk, taffeta ʼ; Sh.koh. gur. pāc̣ṷ m. ʻ cloth ʼ, koh. poc̣e ʻ clothes ʼ.
*paṭṭakara -- , *paṭṭadukūla -- , *paṭṭapati -- , paṭṭaraṅga -- , paṭṭarājñī -- , *paṭṭavaya -- ; *niṣpaṭṭa -- ; *antarapaṭṭa -- , *andhapaṭṭa -- , *kakṣapaṭṭa -- , *karpaṭapaṭṭikā -- , *ghumbapaṭṭa -- , carmapaṭṭa -- , *dupaṭṭikā -- , *paggapaṭṭa -- , *paścapaṭṭa -- , *laṅgapaṭṭa -- , *vasanapaṭṭa -- , śīrṣapaṭṭaka -- .Addenda: paṭṭa -- 2 : WPah.poet. pakṭe f. ʻ woman's woollen gown ʼ (metath. of *paṭke with -- akka -- ); Md. fořā ʻ cloth or Sinhalese sarong ʼ, fařu(v)i ʻ silk ʼ, fař ʻ strip, chain ʼ, fař jehum ʻ wrapping ʼ (jehum verbal noun of jahanī ʻ strikes ʼ).(CDIAL 7700)
*
-- Meluhha Indus Script hypertexts, wealth accounting ledgers of artisan & seafaring merchant guilds, signified by Varāha & Gaṇeśa
Predating the anthropomorph with a boar's head found in the context of Copperhoard culture of Ancient Bharat, to signify a metalworker and metals merchant is a tradition traceable to Indus Script Hypertexts which signify Varāha and Gaṇeśa shown in pratimā as dancers together with other members of gaṇa -- artisan & seafaring merchant guilds. Varāha and Gaṇeśa signified as dancers relates to the dancing halls --नाचण्याचा फड A nachhouse -- which is a component of structures used as metals manufactories called फड, phaḍa, 'cobra hood' rebus: फड, phaḍa 'Bhāratīya arsenal of metal weapons'.
R̥gveda describes Marut gaṇa as dancers through the air; this metaphor leads to the sculptural frescos showing Marutgaṇa as dancers; the sculptural tradition is traceable to the pratimā created by craftsmen who created rock-cut sculptures of Badami caves (see the sculptural fresco of Naṭarāja with Gaṇeśa's dance-step:
RV 8.020.22 Maruts, dancing (through the air), decorated with golden breast-plates, the mortal (who worships you) attains your brotherhood; speak favourably to us, for your affinity is ever (made known) at the regulated (sacrifice).
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Marut-gaṇa including Gaṇeśa (third from left) & Varāha (fourth from left) on a sculptural panel. Kailasanatha Temple,Kanchipuram.
R̥gveda gaṇa are Vrātam Vrātam gaṇam gaṇam, guilds of artisans, seafaring merchants. R̥gveda extols the contributions made by gaṇa to the creation and sharing of wealth created, using the vivid expression: Vrātam Vrātam gaṇam gaṇam. The semantics of this expression elaborate as guilds of artisans, seafaring merchants. The guild-master of such guilds is gaṇanāyaka also called gaṇapati, mahāvināyaka. Apratimā of mahāvināyaka is archaeologically attested in Gardez with precise semantic explanations using Indus Script hypertexts of cobrahood and feline paw, detailed in this monograph.
The veneration of gaṇapati as guild-master, Marut gaṇa is traceable to the tradition of R̥gveda attested in RV 3.26.6, RV 6.66, RV 2.23, RV 10.112.9.
This abiding veneration finds expression in sculptural frescos all over the world which adores R̥gveda tradition.
RV 3.26.6 refers to Gaṇa in the context of Marut-s: व्रातं व्रातं गणम् गणम् Vrātam Vrātam gaṇam gaṇam In this expression, व्रात signifies a particular form of assembly, a guild. व्रात m. (connected with √1. वृ , or with व्रत्/अ and √2. वृ) a multitude , flock , assemblage , troop , swarm , group , host (व्र्/आतं व्रातम् , in companies or troops ; प्/अञ्च व्र्/आतास् , the five races of men) , association , guild RV. &c; n. manual or bodily labour , day-labour (Monier-Williams)
namo gaṇebhyo gaṇapatibhyaś ca vo namo namo vrātebhyo vrātapatibhyaś ca vo namo namaḥ (MS 2.9.4)
R̥gveda gaṇa are Marut gaṇa with two remarkable anthropomorphs: varāha, with the head of a boar and Gaṇeśa, with the head of an elepant. I suggest that varāha, with the head of a boar and Gaṇeśa, with the head of an elepant are Indus Script hypertexts. The hypertexts signify:
1.baḍhia = a castrated boar, a hog; rebus: बढई baḍhī m ( H) A carpenter; barea 'merchant'; and
2. karibha, ibha 'elephant' rebus: karba, ib 'iron'. Gaṇeśa is shown with a) cobrahood and b) tiger vestment to further add the semantic identifiers of:
a) फड, phaḍa, 'cobra hood' rebus: फड, phaḍa 'Bhāratīya arsenal of metal weapons' and
b) panja 'claw of beast, feline paw' rebus: panja 'kiln', i.e. boar and elephant signify wood/iron worker and smelter guild.
bari 'merchant' barea 'merchant' (Santali) వడ్రంగి, వడ్లంగి, వడ్లవాడు (p. 1126) 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. vardhaki m. ʻ carpenter ʼ MBh. [√vardh ] Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, °ṛui, Or. baṛhaï, °ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛa hī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā.(CDIAL 11375)বরাহ barāha 'boar' Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n (vardh ] Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, °ṛui, Or. baṛhaï, °ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛvārdhaka -- .Addenda: vardhaki -- : WPah.kṭg. báḍḍhi m. ʻ carpenter ʼ; kṭg. bəṛhe\ i , báṛhi , kc. baṛhe ← H. beside genuine báḍḍhi Him.I 135), J. bāḍhi, Garh. baṛhai, A. also bāṛhai AFD 94; Md. vaḍīn, vaḍin pl.(CDIAL 11375)
Nataraja with 18 arms. gaṇa play drums. Gaṇeśa in dance-step.Also in the cave are Karthikeya and Gaṇeśa![]()
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Harihara with dancing gaṇa.
Nataraja with 18 arms. gaṇa play drums. Gaṇeśa in dance-step.
Also in the cave are Karthikeya and Gaṇeśa![]()
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Harihara with dancing gaṇa.
Guild-master’s Indus Script Inscription (m304) deciphered. Hypertext khāra, šē̃ṣṭrĭ̄ 'squirrel’ is plaintext khār 'blacksmith'śrēṣṭhin 'guild-master' (Aitareya Brāhmaṇa) https://tinyurl.com/y9ug5h9y The guild-master signs off on the inscription by affixing his hieroglyph: palm squirrel,Sciurus palmarum' Hieroglyph: squirrel: *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ 1 ]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri). *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ 1 ] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2 ?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhī, śeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or eṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)The key factor (together with land (resources), labour and capital) conributing to the wealth of bhārata of Veda times is a form of social economic organization called gaṇa. This gaṇa organizational form is also called śreṇi or guild which predates the Roman corporation by ca two millennia. श्रेणि f. ( L. also m. ; according to Un2. iv , 51 , fr. √ श्रि ; connected with श्रेटी above ) a line , row , range , series , succession , troop , flock , multitude , number RV. &c; a company of artisans following the same business , a guild or association of traders dealing in the same articles Mn. MBh. &c I suggest that the expression and metaphor of tāṇḍava nr̥tyam, the cosmic dance of शिव is a replication of the Soma samsthā yajña, to win the vasu, the wealths. The role of ताण्डव-प्रिय शिव, शिव's door-keeper नन्दिन् of yajña is replicated on wealth accounting archives of Indus Script Corpora.
An early form of dance is traceable to Rudra's dance. Bhīṣma's treatise of Mahābhārata on gaṇa (appended) provides the theoretical framework of Arthaśāstraon creation of a nation's wealth. This treatise demonstrates how the R̥gveda narratives of Rudra, Marut, व्रातं व्रातं गणम् गणम् are the framework of metaphors in sculptures and Indus Script Hypertexts to document how ancient bhārata contributed to 33% of World GDP in 1 CE. ![IMG_2759]()
Rudra, in a dance pose. Maruts, Rudra.tāṇḍava nr̥tyam is a frantic dance by Naṭarāja Śiva accompanied by his व्रातं व्रातं गणम् गणम्. Many ancient sculptural friezes attest to this accompaniment.
Guild-master’s Indus Script Inscription (m304) deciphered. Hypertext khāra, šē̃ṣṭrĭ̄ 'squirrel’ is plaintext khār 'blacksmith'śrēṣṭhin 'guild-master' (Aitareya Brāhmaṇa) https://tinyurl.com/y9ug5h9y The guild-master signs off on the inscription by affixing his hieroglyph: palm squirrel,Sciurus palmarum' Hieroglyph: squirrel: *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ 1 ]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri). *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ 1 ] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2 ?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhī, śeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or eṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)
The key factor (together with land (resources), labour and capital) conributing to the wealth of bhārata of Veda times is a form of social economic organization called gaṇa. This gaṇa organizational form is also called śreṇi or guild which predates the Roman corporation by ca two millennia. श्रेणि f. ( L. also m. ; according to Un2. iv , 51 , fr. √ श्रि ; connected with श्रेटी above ) a line , row , range , series , succession , troop , flock , multitude , number RV. &c; a company of artisans following the same business , a guild or association of traders dealing in the same articles Mn. MBh. &c
I suggest that the expression and metaphor of tāṇḍava nr̥tyam, the cosmic dance of शिव is a replication of the Soma samsthā yajña, to win the vasu, the wealths. The role of ताण्डव-प्रिय शिव, शिव's door-keeper नन्दिन् of yajña is replicated on wealth accounting archives of Indus Script Corpora.
An early form of dance is traceable to Rudra's dance.
Bhīṣma's treatise of Mahābhārata on gaṇa (appended) provides the theoretical framework of Arthaśāstraon creation of a nation's wealth. This treatise demonstrates how the R̥gveda narratives of Rudra, Marut, व्रातं व्रातं गणम् गणम् are the framework of metaphors in sculptures and Indus Script Hypertexts to document how ancient bhārata contributed to 33% of World GDP in 1 CE.
Rudra, in a dance pose. Maruts, Rudra.tāṇḍava nr̥tyam is a frantic dance by Naṭarāja Śiva accompanied by his व्रातं व्रातं गणम् गणम्. Many ancient sculptural friezes attest to this accompaniment.
YajñaVarāha, Indus Script hypertexts baḍhia, barāha, rebus baḍhi, bāṛaï ' worker in wood and iron’
https://tinyurl.com/y9y2ubaw
Maruts are described as having wheels of gold and rushing like boars with tusks of iron (ayodaṁṣṭrān vidhâvato varâhûn). Association of Varāhu's tusk or tooth with ayo 'iron' is significant in the context of Bronze Age metalwork metaphors abounding in ancient ākhyāna.
Maruts are described as having wheels of gold and rushing like boars with tusks of iron (ayodaṁṣṭrān vidhâvato varâhûn). Association of Varāhu's tusk or tooth with ayo 'iron' is significant in the context of Bronze Age metalwork metaphors abounding in ancient ākhyāna.
Itihāsa of Maruts in Rigveda, gold, shining like kindled fires, नृतुः nṛtuḥ 'dancer'
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RV8.20.22 8.020.22 Maruts, dancing (through the air), decorated with golden breast-plates, the mortal (who worships you) attains your brotherhood; speak favourably to us, for your affinity is ever (made known) at the regulated (sacrifice). [quote]'In Hinduism, the Marutas (/məˈrʊts/; Sanskrit: मरुत), also known as the Marutagana and sometimes identified with Rudras, are storm deities and sons of Rudra and Prisni and attendants of Indra. The number of Marutas varies from 27 to sixty (three times sixty in RV 8.96.8). They are very violent and aggressive, described as armed with golden weapons i.e. lightning and thunderbolts, as having iron teeth and roaring like lions, as residing in the north, as riding in golden chariots drawn by ruddy horses.Hymn 66 of Mandala VI of the Rig Veda is an eloquent account of how a natural phenomenon of a rain-storm metamorphose into storm deities.In the Vedic mythology, the Marutas, a troop of young warriors, are Indra's companions. According to French comparative mythologist Georges Dumézil, they are cognate to the Einherjar and the Wild hunt.According to the Rig Veda, the ancient collection of sacred hymns, they wore golden helmets and breastplates, and used their axes to split the clouds so that rain could fall. They were widely regarded as clouds, capable to shaking mountains and destroying forests.According to later tradition, such as Puranas, the Marutas were born from the broken womb of the goddess Diti, after Indra hurled a thunderbolt at her to prevent her from giving birth to too powerful a son. The goddess had intended to remain pregnant for a century before giving birth to a son who would threaten Indra.'[unquote]मरुत् [p= 790,2] m. pl. (prob. the " flashing or shining ones " ; cf. मरीचि and Gk. μαÏμαίÏÏ) the storm-gods (इन्द्र's companions and sometimes e.g. Ragh. xii , 101 = देवाः , the gods or deities in general ; said in the वेद to be the sons of रुद्र and पृश्नि q.v. , or the children of heaven or of ocean ; and described as armed with golden weapons i.e. lightnings and thunderbolts , as having iron teeth and roaring like lions , as residing in the north , as riding in golden cars drawn by ruddy horses sometimes called पृषतीः q.v. ; they are reckoned in Naigh. v , 5 among the gods of the middle sphere , and in RV. viii , 96 , 8 are held to be three times sixty in number ; in the later literature they are the children of दिति , either seven or seven times seven in number , and are sometimes said to be led by मातरिश्वन्) RV. &c; the god of the wind (father of हनुमत् and regent of the north-west quarter of the sky) Kir. Ra1jat. (cf. comp.); = ऋत्विज् Naigh. iii , 18; gold ib. i , 2
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RV 6.66
6.066.01 May the like-formed, benevolent, all-pervading, all humiliating troop (of the Maruts) be promptly with the prudent man; the troop that ever cherishes all that among mortals is designed to yield (them) advantage; and (at whose wil) Pr.s'ni gives milk from (her) bright udder once (in the year). [That ever cherishes: marttes.u anyad dohase pi_pa_ya = tad ru_pam (maruta_m), martyaloke anyad os.adhi vanaspatya_dikam ka_ma_n dogdhum a_ya_yagoti, that form of the Maruts cause one or other thing in the world, herbaceous plants, forest trees, and the like, of flourish, so as to milk or yield wht is desired; Pr.s'ni: implies the firmament, which, by the influence of the winds, sends down its milk, i.e. rain, once, i.e. at the rainy season].
6.066.02 Unsoiled by dust the golden chariots of those Maruts, who are shining like kindled fires, enlarging themselves (at will) twofold and threefold, and (charged) with riches and virile energies, are manifest.6.066.03 They (who are) the sons of the showerer Rudra, whom the nursing (firmamen is able) to sustain, and of whom, the mighty ones, it is known that the great Pr.s'ni has received the germ for the benefit (of man).6.066.04 They who approach not to men any conveyance, being already in their hearts, purifying their defects; when brilliant they supply their milk (the rain) for the gratification (of their worshippers); they are watering the earth (manifesting their collective); from with splendour. [Being already in their hearts: the Maruts are regarded as identical wit the Pra_n.a_h, vital airs].6.066.05 Approaching nigh to whom, and repeating the mighty name of the Maruts, (the worshipper is able) quickly to obtain (his wishes); the liberal donor pacifies the angry Maruts, who are otherwise in their might the resistless plunderers (of their wealth). [He pacifies those na ye stauna_ aya_so mahna_ nu cid, who now are thieves going with greatness verily ever].6.066.06 THose fierce and powerfully arrayed (Maruts) unite by their strength the two beautiful (regions) heaven and earth; in them, the self-radiant, heaven and earth abide; the obstruction (of light) dwells not in those mighty ones. [Unite by their strength: by the rain, which may be said to form a bond of union between heaven and earth].6.066.07 May your chariot, Maruts, be devoid of wickedness; that which (the worshipper) impels, and which without driver, without horses, without provender, without traces, scattering water and accomplishing (desires), traverses heaven and earth and the paths (of the firmament).6.066.08 There is no propeller, no obstructer, of him, whom, Maruts, you protect in battle; he whom (you prosper) with sons, grandsons, cattle, and water, is in war the despoiler of the herds of his ardent (foes). [Despoiler of the herds: sa vrajam darta_ pa_rye adha dyoh = sa gava_m san:gham da_rayita_ san:gra_me dyoh; dyoh = vijigis.or va_ s'atroh, of one desirous to overcome, or an enemy].6.066.09 Offer to the loud-sounding, quick-moving, self-invigorating company of the Maruts, excellent (sacrificial) food; (to them) who overcome strength by strength; the earth trembles, Agni, at the adorable (Maruts).6.066.10 The Maruts are resplendent as if iluminators of the sacrifice, (bright) as he flames of Agni; entitled are they to donation, and like heroes making (adversaries) tremble; brilliant are they from birth, and invincible.6.066.11 I worship with oblations that exalted company of the Maruts, the progeny of Rudra, armed with shining lances; the pure and earnest praises of the devout (adorer) are emulous in the invigoration (of the Maruts), as the clouds (vie in the emission of the rain). [The pure and earnest praises: divah s'ardha_ya s'ucayo manis.a_ girayo na_pa ugra_ aspr.dhran = of heaven of the strength pure praises mountains like waters fierce have vied; divah = stotuh, of the praiser or worshipper; s'ardha_ya = ma_ruta_ya, for the strength of the Maruts; giri = megha, a cloud].
मरुत्तः, पुं, (मरुदस्त्यस्येति । मरुत् + “तप् पर्व्वमरुद्भ्याम् ।” ५ । २ । १२२ । इत्यत्र काशि-कोक्त्या तप् ।) चन्द्रवंशीयराजविशेषः । स चअवीक्षिद्राजपुत्त्रः । यथा --क्रोष्टुकिरुवाच ।“अवीक्षितस्य नृपतेर्मरुत्तस्य महात्मनः ।श्रोतुमिच्छामि चरितं श्रूयते सोऽतिचेष्टितः ॥चक्रवर्त्ती महाभागः शूरः क्षान्तो महामतिः ।धर्म्मविद्धर्म्मकृच्चैव सम्यक् पालयिता भुवः ॥मार्कण्डेय उवाच स पित्रा समनुज्ञातो राज्यं प्राप्य पितामहात् ।धर्म्मतः पालयामास प्रजाः पुत्त्रानिवौरसान् ॥इयाज सुमहायज्ञान् यथावत् प्राज्यदक्षिणान् ।ऋत्विक्पुरोहितादेशादनिर्विण्णो महीपतिः ॥तस्याप्रतिहतं चक्रमासीद्द्वीपेषु सप्तसु ।गतयश्चाप्यविच्छिन्नाः स्वःपातालजलादिषु ॥”इति मार्कण्डेयपुराणे १०३ अध्यायः ॥(यदुवंशीयः करन्धमपुत्त्रः । यथा, श्रीमद्भाग-वते । ९ । २३ । १७ ।https://sa.wikisource.org/wiki/शब्दकल्पद्रुमःमरुत् पु० मृ उति । १ वायौ अमरः २ मरुवके भावप्र० ३ देवे ४ ग्रन्धिपर्णे न० मेदि० । ५ पृक्कायां स्त्री शब्दर० ।स्वार्थे प्रज्ञाद्यण् । मारुतोऽप्यत्र । पृषो० ह्रस्वः ।मरुतोऽपि देवे च वायौ च व्याडिः ।- https://sa.wikisource.org/wiki/वाचस्पत्यम्
RV8.20.22 8.020.22 Maruts, dancing (through the air), decorated with golden breast-plates, the mortal (who worships you) attains your brotherhood; speak favourably to us, for your affinity is ever (made known) at the regulated (sacrifice).
[quote]'In Hinduism, the Marutas (/məˈrʊts/; Sanskrit: मरुत), also known as the Marutagana and sometimes identified with Rudras, are storm deities and sons of Rudra and Prisni and attendants of Indra. The number of Marutas varies from 27 to sixty (three times sixty in RV 8.96.8). They are very violent and aggressive, described as armed with golden weapons i.e. lightning and thunderbolts, as having iron teeth and roaring like lions, as residing in the north, as riding in golden chariots drawn by ruddy horses.
Hymn 66 of Mandala VI of the Rig Veda is an eloquent account of how a natural phenomenon of a rain-storm metamorphose into storm deities.
In the Vedic mythology, the Marutas, a troop of young warriors, are Indra's companions. According to French comparative mythologist Georges Dumézil, they are cognate to the Einherjar and the Wild hunt.
According to the Rig Veda, the ancient collection of sacred hymns, they wore golden helmets and breastplates, and used their axes to split the clouds so that rain could fall. They were widely regarded as clouds, capable to shaking mountains and destroying forests.
According to later tradition, such as Puranas, the Marutas were born from the broken womb of the goddess Diti, after Indra hurled a thunderbolt at her to prevent her from giving birth to too powerful a son. The goddess had intended to remain pregnant for a century before giving birth to a son who would threaten Indra.'[unquote]
मरुत् [p= 790,2] m. pl. (prob. the " flashing or shining ones " ; cf. मरीचि and Gk. μαÏμαίÏÏ) the storm-gods (इन्द्र's companions and sometimes e.g. Ragh. xii , 101 = देवाः , the gods or deities in general ; said in the वेद to be the sons of रुद्र and पृश्नि q.v. , or the children of heaven or of ocean ; and described as armed with golden weapons i.e. lightnings and thunderbolts , as having iron teeth and roaring like lions , as residing in the north , as riding in golden cars drawn by ruddy horses sometimes called पृषतीः q.v. ; they are reckoned in Naigh. v , 5 among the gods of the middle sphere , and in RV. viii , 96 , 8 are held to be three times sixty in number ; in the later literature they are the children of दिति , either seven or seven times seven in number , and are sometimes said to be led by मातरिश्वन्) RV. &c; the god of the wind (father of हनुमत् and regent of the north-west quarter of the sky) Kir. Ra1jat. (cf. comp.); = ऋत्विज् Naigh. iii , 18; gold ib. i , 2
RV 6.66
6.066.01 May the like-formed, benevolent, all-pervading, all humiliating troop (of the Maruts) be promptly with the prudent man; the troop that ever cherishes all that among mortals is designed to yield (them) advantage; and (at whose wil) Pr.s'ni gives milk from (her) bright udder once (in the year). [That ever cherishes: marttes.u anyad dohase pi_pa_ya = tad ru_pam (maruta_m), martyaloke anyad os.adhi vanaspatya_dikam ka_ma_n dogdhum a_ya_yagoti, that form of the Maruts cause one or other thing in the world, herbaceous plants, forest trees, and the like, of flourish, so as to milk or yield wht is desired; Pr.s'ni: implies the firmament, which, by the influence of the winds, sends down its milk, i.e. rain, once, i.e. at the rainy season].
6.066.02 Unsoiled by dust the golden chariots of those Maruts, who are shining like kindled fires, enlarging themselves (at will) twofold and threefold, and (charged) with riches and virile energies, are manifest.
6.066.03 They (who are) the sons of the showerer Rudra, whom the nursing (firmamen is able) to sustain, and of whom, the mighty ones, it is known that the great Pr.s'ni has received the germ for the benefit (of man).
6.066.04 They who approach not to men any conveyance, being already in their hearts, purifying their defects; when brilliant they supply their milk (the rain) for the gratification (of their worshippers); they are watering the earth (manifesting their collective); from with splendour. [Being already in their hearts: the Maruts are regarded as identical wit the Pra_n.a_h, vital airs].
6.066.05 Approaching nigh to whom, and repeating the mighty name of the Maruts, (the worshipper is able) quickly to obtain (his wishes); the liberal donor pacifies the angry Maruts, who are otherwise in their might the resistless plunderers (of their wealth). [He pacifies those na ye stauna_ aya_so mahna_ nu cid, who now are thieves going with greatness verily ever].
6.066.06 THose fierce and powerfully arrayed (Maruts) unite by their strength the two beautiful (regions) heaven and earth; in them, the self-radiant, heaven and earth abide; the obstruction (of light) dwells not in those mighty ones. [Unite by their strength: by the rain, which may be said to form a bond of union between heaven and earth].
6.066.07 May your chariot, Maruts, be devoid of wickedness; that which (the worshipper) impels, and which without driver, without horses, without provender, without traces, scattering water and accomplishing (desires), traverses heaven and earth and the paths (of the firmament).
6.066.08 There is no propeller, no obstructer, of him, whom, Maruts, you protect in battle; he whom (you prosper) with sons, grandsons, cattle, and water, is in war the despoiler of the herds of his ardent (foes). [Despoiler of the herds: sa vrajam darta_ pa_rye adha dyoh = sa gava_m san:gham da_rayita_ san:gra_me dyoh; dyoh = vijigis.or va_ s'atroh, of one desirous to overcome, or an enemy].
6.066.09 Offer to the loud-sounding, quick-moving, self-invigorating company of the Maruts, excellent (sacrificial) food; (to them) who overcome strength by strength; the earth trembles, Agni, at the adorable (Maruts).
6.066.10 The Maruts are resplendent as if iluminators of the sacrifice, (bright) as he flames of Agni; entitled are they to donation, and like heroes making (adversaries) tremble; brilliant are they from birth, and invincible.
6.066.11 I worship with oblations that exalted company of the Maruts, the progeny of Rudra, armed with shining lances; the pure and earnest praises of the devout (adorer) are emulous in the invigoration (of the Maruts), as the clouds (vie in the emission of the rain). [The pure and earnest praises: divah s'ardha_ya s'ucayo manis.a_ girayo na_pa ugra_ aspr.dhran = of heaven of the strength pure praises mountains like waters fierce have vied; divah = stotuh, of the praiser or worshipper; s'ardha_ya = ma_ruta_ya, for the strength of the Maruts; giri = megha, a cloud].
मरुत्तः, पुं, (मरुदस्त्यस्येति । मरुत् + “तप् पर्व्वमरुद्भ्याम् ।” ५ । २ । १२२ । इत्यत्र काशि-कोक्त्या तप् ।) चन्द्रवंशीयराजविशेषः । स चअवीक्षिद्राजपुत्त्रः । यथा --क्रोष्टुकिरुवाच ।“अवीक्षितस्य नृपतेर्मरुत्तस्य महात्मनः ।श्रोतुमिच्छामि चरितं श्रूयते सोऽतिचेष्टितः ॥चक्रवर्त्ती महाभागः शूरः क्षान्तो महामतिः ।धर्म्मविद्धर्म्मकृच्चैव सम्यक् पालयिता भुवः ॥मार्कण्डेय उवाच स पित्रा समनुज्ञातो राज्यं प्राप्य पितामहात् ।धर्म्मतः पालयामास प्रजाः पुत्त्रानिवौरसान् ॥इयाज सुमहायज्ञान् यथावत् प्राज्यदक्षिणान् ।ऋत्विक्पुरोहितादेशादनिर्विण्णो महीपतिः ॥तस्याप्रतिहतं चक्रमासीद्द्वीपेषु सप्तसु ।गतयश्चाप्यविच्छिन्नाः स्वःपातालजलादिषु ॥”इति मार्कण्डेयपुराणे १०३ अध्यायः ॥(यदुवंशीयः करन्धमपुत्त्रः । यथा, श्रीमद्भाग-वते । ९ । २३ । १७ ।https://sa.wikisource.org/wiki/शब्दकल्पद्रु
मःमरुत् पु० मृ उति । १ वायौ अमरः २ मरुवके भावप्र० ३ देवे ४ ग्रन्धिपर्णे न० मेदि० । ५ पृक्कायां स्त्री शब्दर० ।स्वार्थे प्रज्ञाद्यण् । मारुतोऽप्यत्र । पृषो० ह्रस्वः ।मरुतोऽपि देवे च वायौ च व्याडिः ।
- https://sa.wikisource.org/wiki/वाचस्पत्यम्
See: Tridhātu Gaṇeśa, Emūṣa Varāha are Marut-s, R̥bhu-s, a Rudra gaṇa, disgorged by makara, Indus Script hypertexts https://tinyurl.com/y84r4oyr Tridhātu Gaṇeśa & Emūṣa Varāha are Maruts, a Rudra gaṇa (offspring of Rudra) -- disgorged by makara -- working with smelters, forge-blowers and iconographically depicted emerging out of the snout/breath of hypertext: (dh)makara 'makara' rebus: dhmakara, 'forge-blower',dhamaka 'blacksmith'. The breath of the makara is a metaphor for the winds blown from the bellows to increase the intensity of the blazing fires and ignite the mere earth, the mineral ores in the smelter. Maruts, sons of Rudra are the winds as R̥bhu-s, artisans, work to fashion the earth and minerals into wealth. This is a cosmic dance enacted in the kole.l 'smithy, forge' which is kole.l 'temple.
dhmakara 'forge-blower' is makara, the hypertext iconograph.
See: Indus Script hypertext makara rebus dhmakara ‘forge-blower, blacksmith’ is a divine signifier of wealth, nidhi https://tinyurl.com/yb2nabnf
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Monument/Object: sculpture Current Location: Indian Museum, Kolkata, West Bengal, India Subject: Varuna, on makara Photo Depicts: front
Monument/Object: sculpture Current Location: Indian Museum, Kolkata, West Bengal, India Subject: Varuna, on makara Photo Depicts: front
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Location: Bharhut Village, Satna Dt., Madhya Pradesh, India Site: Bharhut Village Monument/Object: Bharhut Stupa, architectural fragment, vedika (railing) Current Location: Bharat Kala Bhavan, Varanasi, Uttar Pradesh, India Subject: elephant, with fishtail Photo Depicts: roundel
Date: 2nd - 1st century BCE Religious Affiliation: Buddhist Material: stone Scan Number: 11598 Photo Date: 1984 Image Source: Huntington Archive
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Marut-s as Rudra-s, नृतु m. (nom. /ऊस्) a dancer , an actor RV. &cA major wealth-producing activity of Bhāratam Janam has been metalwork. This monograph suggests that the forms of Gaṇeśa pratimā evolve in Indus Script hypertext tradition to document wealth-producing metalwork.
फडकरी phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). फडझडती phaḍajhaḍatī f sometimes फडझाडणी f A clearing off of public business (of any business comprehended under the word फड q. v.): also clearing examination of any फड or place of public business. (Marathi)
गण m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or attendants RV. AV. &c; troops or classes of inferior deities (especially certain troops of demi-gods considered as शिव's attendants and under the special superintendence of the god गणे*श ; cf. -देवता) Mn. Ya1jn5. Lalit. &c; a company , any assemblage or association of men formed for the attainment of the same aims Mn. Ya1jn5. Hit. (in summary, a guild). Gaņā or hosts of Bŗihaspathi—Brahmaņaspathi are venerated:
gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnām upamaśravastamam | jyeṣṭharājam brahmaṇām brahmaṇas pata ā naḥ śṛṇvann ūtibhiḥ sīda sādanam ||RV_2,023.01|| This veneration of the leader of the guild posits Gaṇeśa as a Vedic divinity of the highest order, the leader of the heavenly bands and a sage (kavi) among sages.
sa suṣṭubhā sa ṛkvatā gaṇena valaṃ ruroja phaligaṃ raveṇa | bṛhaspatir usriyā havyasūdaḥ kanikradad vāvaśatīr ud ājat ||RV 4,050.05 ||
गण, also signify hosts of divine beings. Indra is a leader of the gana of Maruts.![]()
ni ṣu sīda gaṇapate gaṇeṣu tvām āhur vipratamaṃ kavīnām | na ṛte tvat kriyate kiṃ canāre mahām arkam maghavañ citram arca ||RV_10,112.09||
[quote] The mantra ‘namo Gaṇebhyo gaṇapathibyasha vo namo’ (16-25) that occurs in Śukla Yajurveda samhita refers to ganas, in plural, and says: salutations to you, Gaṇas and to the Lord of the Ganas. This mantra appears also in the Rudra praśnam (4.1.5) and in the Maitrāyaṇī Samhitā (2,9.4). Gaṇa in these contexts signifies a group of people as also a collection of mantras.
namo gaṇebhyo gaṇapatibhyaś ca vo namo namo vrātebhyo vrātapatibhyaś ca vo namo namaḥ kṛchrebhyaḥ kṛchrapatibhyaś ca vo namo namo virūpebhyo viśvarūpebhyaś ca vo namo namaḥ senābhyaḥ senānībhyaś ca vo namo namo rathibhyo varūthibhyaś ca vo namo namaḥ kṣattṛbhyaḥ saṃgrahītṛbhyaś ca vo namo namo bṛhadbhyo ‘rbhakebhyaś ca vo namo namo yuvabhya āśīnebhyaś ca vo namo namaḥ //MS_2,9.4//The Taittirīya Samhitā interprets Gaṇas as paśus (the beasts of Śiva). They are the Gaṇas of Shiva — Rudrasya Ganapathyam .There were also Bhuta ganas, the weird and grotesque looking guards of Shiva. Thus, Shiva the Paśupathi; and Śiva the Bhūtanāth was also a Gaṇapathi.[unquote] https://sreenivasaraos.com/tag/ganesha
Marut-s as Rudra-s, नृतु m. (nom. /ऊस्) a dancer , an actor RV. &c
A major wealth-producing activity of Bhāratam Janam has been metalwork. This monograph suggests that the forms of Gaṇeśa pratimā evolve in Indus Script hypertext tradition to document wealth-producing metalwork.
फडकरी phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). फडझडती phaḍajhaḍatī f sometimes फडझाडणी f A clearing off of public business (of any business comprehended under the word फड q. v.): also clearing examination of any फड or place of public business. (Marathi)
गण m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or attendants RV. AV. &c; troops or classes of inferior deities (especially certain troops of demi-gods considered as शिव's attendants and under the special superintendence of the god गणे*श ; cf. -देवता) Mn. Ya1jn5. Lalit. &c; a company , any assemblage or association of men formed for the attainment of the same aims Mn. Ya1jn5. Hit. (in summary, a guild). Gaņā or hosts of Bŗihaspathi—Brahmaņaspathi are venerated:
gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnām upamaśravastamam | jyeṣṭharājam brahmaṇām brahmaṇas pata ā naḥ śṛṇvann ūtibhiḥ sīda sādanam ||RV_2,023.01|| This veneration of the leader of the guild posits Gaṇeśa as a Vedic divinity of the highest order, the leader of the heavenly bands and a sage (kavi) among sages.
sa suṣṭubhā sa ṛkvatā gaṇena valaṃ ruroja phaligaṃ raveṇa | bṛhaspatir usriyā havyasūdaḥ kanikradad vāvaśatīr ud ājat ||RV 4,050.05 ||
गण, also signify hosts of divine beings. Indra is a leader of the gana of Maruts.
ni ṣu sīda gaṇapate gaṇeṣu tvām āhur vipratamaṃ kavīnām | na ṛte tvat kriyate kiṃ canāre mahām arkam maghavañ citram arca ||RV_10,112.09||
[quote] The mantra ‘namo Gaṇebhyo gaṇapathibyasha vo namo’ (16-25) that occurs in Śukla Yajurveda samhita refers to ganas, in plural, and says: salutations to you, Gaṇas and to the Lord of the Ganas. This mantra appears also in the Rudra praśnam (4.1.5) and in the Maitrāyaṇī Samhitā (2,9.4). Gaṇa in these contexts signifies a group of people as also a collection of mantras.
namo gaṇebhyo gaṇapatibhyaś ca vo namo namo vrātebhyo vrātapatibhyaś ca vo namo namaḥ kṛchrebhyaḥ kṛchrapatibhyaś ca vo namo namo virūpebhyo viśvarūpebhyaś ca vo namo namaḥ senābhyaḥ senānībhyaś ca vo namo namo rathibhyo varūthibhyaś ca vo namo namaḥ kṣattṛbhyaḥ saṃgrahītṛbhyaś ca vo namo namo bṛhadbhyo ‘rbhakebhyaś ca vo namo namo yuvabhya āśīnebhyaś ca vo namo namaḥ //MS_2,9.4//
The Taittirīya Samhitā interprets Gaṇas as paśus (the beasts of Śiva). They are the Gaṇas of Shiva — Rudrasya Ganapathyam .There were also Bhuta ganas, the weird and grotesque looking guards of Shiva. Thus, Shiva the Paśupathi; and Śiva the Bhūtanāth was also a Gaṇapathi.[unquote] https://sreenivasaraos.com/tag/ganesha
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Dancing Ganesha, Gangaikonda-cholapuram, Tamil Nadu, 11th century CE.![Image result for dancing gana bharatkalyan97]()
Dancing Gaṇeśa in relief at Hoysaleshwara temple, Halebidu![]()
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)
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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 मेढ q. v.) मेडका m A stake, esp. as bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ ) A small bifurcated stake: also a small stake, with or without furcation, used as a post to support a cross piece. मेढ्या (p. 665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person considered as the pillar, prop, or support (of a household, army, or other body), the staff or stay. मेढेजोशी (p. 665) [ mēḍhējōśī ] m A stake-जोशी ; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village.मेंधला (p. 665) [ mēndhalā ] m In architecture. A common term for the two upper arms of a double चौकठ (door-frame) connecting the two. Called also मेंढरी & घोडा . It answers to छिली the name of the two lower arms or connections. (Marathi)मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda)
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'.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)
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Marut-gaṇa including Gaṇeśa & Varaha on a sculptural panel. Kailasanatha Temple,Kanchipuram.![]()
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Dancing dwarves, gaṇa.Candi-Sukuh Gaṇeśa is shown in a dance-step, in the context of smelting, forging of sword by Bhima and by the bellows-blower Arjuna. The building in the background is a smelter/forge.
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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'.
The association of Gaṇeśa with iron-working gives him the name tri-dhātu 'three minerals' wich are:goṭa 'laterite, ferrite ore' poḷa 'magnetite, ferrite ore' bicha 'haemtite, ferrite ore'. These three ferrite ores are signified by the hieroglyphs: goṭa 'round pebble stone' poḷa 'zebu, dewlap, honeycomb' bica'scorpion'.
Gaṇeśa is signified as part of Marut गण[p= 343,1] troops or classes of inferior deities (especially certain troops of demi-gods considered as शिव's attendants and under the special superintendence of the god गणे*श ; cf. देवता) Mn. Ya1jn5. Lalit. &c; m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or attendants RV. AV. &c.
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Source: Une tête d'éléphant en terre cuite de Nausharo (Pakistan)In: Arts asiatiques. Tome 47, 1992. pp. 132-136. Jarrige Catherinehttp://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'.
Dancing Ganesha, Gangaikonda-cholapuram, Tamil Nadu, 11th century CE.
Dancing Gaṇeśa in relief at Hoysaleshwara temple, Halebidu
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)
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'.
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)
Marut-gaṇa including Gaṇeśa & Varaha on a sculptural panel. Kailasanatha Temple,Kanchipuram.
Dancing dwarves, gaṇa.
Candi-Sukuh Gaṇeśa is shown in a dance-step, in the context of smelting, forging of sword by Bhima and by the bellows-blower Arjuna. The building in the background is a smelter/forge.
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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'.
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'.The association of Gaṇeśa with iron-working gives him the name tri-dhātu 'three minerals' wich are:
goṭa 'laterite, ferrite ore' poḷa 'magnetite, ferrite ore' bicha 'haemtite, ferrite ore'. These three ferrite ores are signified by the hieroglyphs: goṭa 'round pebble stone' poḷa 'zebu, dewlap, honeycomb' bica'scorpion'.
Gaṇeśa is signified as part of Marut गण[p= 343,1] troops or classes of inferior deities (especially certain troops of demi-gods considered as शिव's attendants and under the special superintendence of the god गणे*श ; cf. देवता) Mn. Ya1jn5. Lalit. &c; m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or attendants RV. AV. &c.
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'.
| Location: Amaravati, Guntur Dt., Andhra Pradesh, India | |||||
| Site: Amaravati | |||||
| Monument/Object: sculpture | |||||
| Current Location: Madras Government Museum, Madras, Tamil Nadu, India | |||||
| Subject: Sankhanidhi, with purse of coins in left hand | |||||
Period: Satavahana
|
| Location: Amaravati, Guntur Dt., Andhra Pradesh, India | |||||
| Site: Amaravati | |||||
| Monument/Object: relief sculpture, fragment | |||||
| Current Location: Madras Government Museum, Madras, Tamil Nadu, India | |||||
| Subject: gana, dancing | |||||
| Photo Depicts: front | |||||
Period: Satavahana
|
meḍ 'dance-step' rebus: meḍ 'iron'
Why are dwarfs shown on Begram ivories, Bharhut, Sanchi, Mathura sculptures and stone reliefs? The reason is the Indian sprachbund gloss: kharva which means 'dwarf'. The rebus-metonymy-layered rendering reads: kharva 'a navanidhi, a treasure, wealth' (one of nine nidhis or nine treasures of Kubera). The dwarf image is also used to denote gaNa of Siva or Rudra.
Hieroglyph: gaNa, 'dwarf' Rebus: gaNa is a guild. Accoding to NaighaNTu, gaNa is speech, Mleccha, Meluhha speech as distinct from chandas, prosody: m. = वाच् (i.e. " a series of verses ") Naigh. i , 11
Sunga. Kubera. National Museum, Delhi
| Location: Amaravati, Guntur Dt., Andhra Pradesh, India | |||||
| Site: Amaravati | |||||
| Monument/Object: coping fragment, relief sculpture | |||||
| Current Location: Madras Government Museum, Madras, Tamil Nadu, India | |||||
| Subject: ganas and elephant | |||||
Period: Satavahana
|
A Dancing gana, Daśāvatāra temple, Deogarh
Dancing gaṇa of Badami caves.
Badami. Entrance of Cave 1. Nataraja next to panels of dancing gaṇa
Dance step of Gaṇeśa shown on a sculptural friezed of Candi Sukuh:
Forge scene stele. Forging of a keris or kris (the iconic Javanese dagger) and other weapons. The blade of the keris represents the khaNDa. Fire is a purifier, so the blade being forged is also symbolic of the purification process central theme of the consecration of gangga sudhi specified in the inscription on the 1.82 m. tall, 5 ft. dia. lingga hieroglyph, the deity of Candi Sukuh.
Foot with anklet; copper alloy. Mohenjo-daro (After Fig. 5.11 in Agrawal. D.P. 2000. Ancient Metal Technology & Archaeology of South Asia. Delhi: Aryan Books International.)
Why is a 'dancing girl' glyph shown on a potsherd discovered at Bhirrana? Because, dance-step is a hieroglyph written as hypertext cipher.
Torso of a male dancing figure from Harappa: -Grey limestone, ht 4 inches -National Museum, New Delhi. I submit that the word pada as a 'step' is an Indus Script hypertext as seen in a sculptural fragment of Harappa. meḍ 'dance' (Remo); మెట్టు [meṭṭu] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. Four views of a small stone torso discovered in Harappa (Pakistan) in the late 1920s from the Indus Valley Civilization (c. 2000 B.C.)
Above: Photographs of Male Dancing Figure from Harappa, flanked by sketches by conjectural sketches by John Marshall and after him by Mark Kenoyer (right).
It is nice to step into the new year with the figure of a dancer, for dancing is something that the ancient Indus people took very seriously. There is the dancing girl, and there is this exquisite male that John Marshall introduces: "And now we come to two small statuettes which are more surprising even than the masterly engraving of the bull ... When I first saw them I found it difficult to believe that they were prehistoric; they seemed to so completely upset all established ideas about early art. Modelling such as this was unknown in the ancient world up to the Hellenistic age of Greece ... Now there was no stone obtainable at Harappa or anywhere near it. Whatever stone was needed there had to be brought great distances ... Then, as to technique. In both statuettes, it will be observed, there are socket holes in the neck and shoulders for the attachment of head and arms, which were made in separate pieces; in in both, moreover, the nipples of the breasts were made independently and fixed with cement. So far as I know, this technique is without parallel among sculptors of the historic period, whether of the Indo-Hellenistic or any other school. On the other hand it is also unexampled at Mohenjo-daro ... It is the figure of a dancer standing on his right leg, with the body from the waist upwards bent well round to the left, both arms thrown out in the same direction, and the left leg raised high in front ... Although its contours are soft and effeminate, the figure is that of a male, and it seems likely that it was ithyphallic, since the membrum virile was made in a separate piece. I infer, too, from the abnormal thickness of the neck, that the dancer was three-headed or at any rate three-faced, and I conjecture that he may represent the youthful Siva Nataraja." (Marshall, Mohenjo-daro, I., 45-46.)
https://tinyurl.com/yap5xbu2
The divinities venerated in the Rāṣṭrī Suktam (RV 10.125) are त्वष्टृ, वसु, रुद्र all metaphors in Chandas in the context of wealth of a nation. Hence, the use of the central phrase: Rāṣṭram personified, deified as fem. Rāṣṭrī. This divinity of the Suktam makes an offering to Devatā ātmā.
ātmā means principle of life and sensation, that is life activities people engaged in producing, acquiring wealth. Since Indus Script Hypertexts in over 8000 inscriptions are wealth accounting ledgers, metalworking catalogues, I suggest that the narrative of these inscriptions constitute the quintessence of the Rāṣṭrī suktam (RV 10.125) which categorically states that I am the Rāṣṭram, the collectress, mover of wealth. In the context of life activities, the devatā of the Suktam is ātmā, 'life principle and sensation' which is epitomised in the activities of artisans and seafaring Meluhha merchants engaged in creating the wealth of a Nation, Rāṣṭram.
I, therefore, submit that RV 10.125 Rāṣṭrī suktam is the R̥gveda textual metaphor Chandas equivalent of the Indus Script Hypertexts rendered in Meluhha speech forms (Indian sprachbund, speech union).
त्वष्टृ m. a carpenter , maker of carriages (= त्/अष्टृ) AV. xii , 3 , 33; " creator of living beings " , the heavenly builder , N. of a god (called सु-क्/ऋत् , -पाण्/इ , -ग्/अभस्ति , -ज्/अनिमन् , स्व्-/अपस् , अप्/असाम् अप्/अस्तम , विश्व्/अ-रूप &c RV. ; maker of divine implements , esp. of इन्द्र's thunderbolt and teacher of the ऋभुs i , iv-vi , x Hariv. 12146 f. R. ii , 91 , 12 ; former of the bodies of men and animals , hence called " firstborn " and invoked for the sake of offspring , esp. in the आप्री hymns RV. AV. &c MBh. iv , 1178 Hariv. 587 ff. Ragh. vi , 32 ; associated with the similar deities धातृ , सवितृ , प्रजा-पति , पूषन् , and surrounded by divine females [ग्न्/आस् , जन्/अयस् , देव्/आनाम् प्/अत्नीस् ; cf. त्व्/अष्टा-व्/अरूत्री] recipients of his generative energy RV. S3Br. i Ka1tyS3r. iii ; supposed author of RV. x , 184 with the epithet गर्भ-पति RAnukr. ; father of सरण्यू [सु-रेणु Hariv. ; स्व-रेणु L. ] whose double twin-children by विवस्वत् [or वायु ? RV. viii , 26 , 21 f.] are यमयमी and the अश्विन्s x , 17 , 1 f. Nir. xii , 10 Br2ih. Hariv. 545 ff. VP. ; also father of त्रि-शिरस् or विश्वरूप ib. ; overpowered by इन्द्र who recovers the सोम [ RV. iii f. ] concealed by him because इन्द्र had killed his son विश्व-रूप TS. ii S3Br. i , v , xii ; regent of the नक्षत्र चित्रा TBr.S3a1n3khGr2. S3a1ntik. VarBr2S. iic , 4 ; of the 5th cycle of Jupiter viii , 23 ; of an eclipse iii , 6 ; त्वष्टुर् आतिथ्य N. of a सामन् A1rshBr. ); a form of the sun MBh. iii , 146 Hariv. 13143 BhP. iii , 6 , 15;name of an आदित्य MBh. i Hariv. BhP. vi , 6 , 37 VP. i , 15 , 130 ; ii , 10 , 16; name of a रुद्र , i , 15 , 122.
Sāyaṇa/Wilson translation RV 10.125
1. I TRAVEL with the Rudras and the Vasus, with the Adityas and AllGods- I wander.
I hold aloft both Varuna and Mitra, Indra and Agni, and the Pair of Asvins.
2 I cherish and sustain highswelling- Soma, and Tvastar I support, Pusan, and Bhaga.
I load with wealth the zealous sdcrificer who pours the juice and offers his oblation
3 I am the Queen, the gathererup- of treasures, most thoughtful, first of those who merit worship.
Thus Gods have stablished me in many places with many homes to enter and abide in.
4 Through me alone all eat the food that feeds them, each man who sees, brewhes, hears the word
outspoken
They know it not, but yet they dwell beside me. Hear, one and all, the truth as I declare it.
5 1, verily, myself announce and utter the word that Gods and men alike shall welcome.
I make the man I love exceeding mighty, make him a sage, a Rsi, and a Brahman.
6 I bend the bow for Rudra that his arrow may strike and slay the hater of devotion.
I rouse and order battle for the people, and I have penetrated Earth and Heaven.
7 On the worlds' summit I bring forth the Father: my home is in the waters, in the ocean.
Thence I extend over all existing creatures, and touch even yonder heaven with my forehead.
8 I breathe a strong breath like the wind and tempest, the while I hold together all existence.
Beyond this wide earth and beyond the heavens I have become so mighty in my grandeur.
This is an addendum to Rāṣṭrī Suktam R̥gveda 10.125 & archaeology of wealth of a Rāṣṭram, Ancient India of Tin-Bronze revolution https://tinyurl.com/ya2ywfwn
The divinities venerated in the Rāṣṭrī Suktam (RV 10.125) are त्वष्टृ, वसु, रुद्र all metaphors in Chandas in the context of wealth of a nation. Hence, the use of the central phrase: Rāṣṭram personified, deified as fem. Rāṣṭrī. This divinity of the Suktam makes an offering to Devatā ātmā.
ātmā means principle of life and sensation, that is life activities people engaged in producing, acquiring wealth. Since Indus Script Hypertexts in over 8000 inscriptions are wealth accounting ledgers, metalworking catalogues, I suggest that the narrative of these inscriptions constitute the quintessence of the Rāṣṭrī suktam (RV 10.125) which categorically states that I am the Rāṣṭram, the collectress, mover of wealth. In the context of life activities, the devatā of the Suktam is ātmā, 'life principle and sensation' which is epitomised in the activities of artisans and seafaring Meluhha merchants engaged in creating the wealth of a Nation, Rāṣṭram.
I, therefore, submit that RV 10.125 Rāṣṭrī suktam is the R̥gveda textual metaphor Chandas equivalent of the Indus Script Hypertexts rendered in Meluhha speech forms (Indian sprachbund, speech union).
त्वष्टृ m. a carpenter , maker of carriages (= त्/अष्टृ) AV. xii , 3 , 33; " creator of living beings " , the heavenly builder , N. of a god (called सु-क्/ऋत् , -पाण्/इ , -ग्/अभस्ति , -ज्/अनिमन् , स्व्-/अपस् , अप्/असाम् अप्/अस्तम , विश्व्/अ-रूप &c RV. ; maker of divine implements , esp. of इन्द्र's thunderbolt and teacher of the ऋभुs i , iv-vi , x Hariv. 12146 f. R. ii , 91 , 12 ; former of the bodies of men and animals , hence called " firstborn " and invoked for the sake of offspring , esp. in the आप्री hymns RV. AV. &c MBh. iv , 1178 Hariv. 587 ff. Ragh. vi , 32 ; associated with the similar deities धातृ , सवितृ , प्रजा-पति , पूषन् , and surrounded by divine females [ग्न्/आस् , जन्/अयस् , देव्/आनाम् प्/अत्नीस् ; cf. त्व्/अष्टा-व्/अरूत्री] recipients of his generative energy RV. S3Br. i Ka1tyS3r. iii ; supposed author of RV. x , 184 with the epithet गर्भ-पति RAnukr. ; father of सरण्यू [सु-रेणु Hariv. ; स्व-रेणु L. ] whose double twin-children by विवस्वत् [or वायु ? RV. viii , 26 , 21 f.] are यमयमी and the अश्विन्s x , 17 , 1 f. Nir. xii , 10 Br2ih. Hariv. 545 ff. VP. ; also father of त्रि-शिरस् or विश्वरूप ib. ; overpowered by इन्द्र who recovers the सोम [ RV. iii f. ] concealed by him because इन्द्र had killed his son विश्व-रूप TS. ii S3Br. i , v , xii ; regent of the नक्षत्र चित्रा TBr.S3a1n3khGr2. S3a1ntik. VarBr2S. iic , 4 ; of the 5th cycle of Jupiter viii , 23 ; of an eclipse iii , 6 ; त्वष्टुर् आतिथ्य N. of a सामन् A1rshBr. ); a form of the sun MBh. iii , 146 Hariv. 13143 BhP. iii , 6 , 15;name of an आदित्य MBh. i Hariv. BhP. vi , 6 , 37 VP. i , 15 , 130 ; ii , 10 , 16; name of a रुद्र , i , 15 , 122.
| वसु N. of the gods (as the " good or bright ones " , esp. of the आदित्यs , मरुत्s , अश्विन्s , इन्द्र , उषस् , रुद्र , वायु , विष्णु , शिव , and कुबेर) RV. AV. MBh. R.; of a partic. class of gods (whose number is usually eight , and whose chief is इन्द्र , later अग्नि and विष्णु ; they form one of the nine गणs or classes enumerated under गण-देवता q.v. ; the eight वसुs were originally personifications , like other Vedic deities , of natural phenomena , and are usually mentioned with the other गणs common in the वेद , viz. the eleven रुद्रs and the twelve आदित्यs , constituting with them and with द्यौस् , " Heaven " , and पृथिवी , " Earth " [or , according to some , with इन्द्र and प्रजा-पति , or , according to others , with the two अश्विन्s] , the thirty-three gods to which reference is frequently made ; the names of the वसुs , according to the विष्णु-पुराण , are , 1. आप [connected with अप् , " water "] ; 2. ध्रुव , " the Pole-star " ; 3. सोम , " the Moon " ; 4. धव or धर ; 5. अनिल , " Wind " ; 6. अनल or पावक , " Fire " ; 7. प्रत्यूष , " the Dawn " ; 8. प्रभास , " Light " ; but their names are variously given ; अहन् , " Day " , being sometimes substituted for 1 ; in their relationship to Fire and Light they appear to belong to Vedic rather than Puranic mythology) RV. &c; a partic. ray of light VP.; a symbolical N. of the number " eight " (वराह-मिहिर 's बृहत्-संहिता) रुद्र m. " Roarer or Howler " , N. of the god of tempests and father and ruler of the रुद्रs and मरुत्s (in the वेद he is closely connected with इन्द्र and still more with अग्नि , the god of fire , which , as a destroying agent , rages and crackles like the roaring storm , and also with काल or Time the all-consumer , with whom he is afterwards identified ; though generally represented as a destroying deity , whose terrible shafts bring death or disease on men and cattle , he has also the epithet शिव , " benevolent " or " auspicious " , and is even supposed to possess healing powers from his chasing away vapours and purifying the atmosphere ; in the later mythology the word शिव , which does not occur as a name in the वेद , was employed , first as an euphemistic epithet and then as a real name for रुद्र , who lost his special connection with storms and developed into a form of the disintegrating and reintegrating principle ; while a new class of beings , described as eleven [or thirty-three] in number , though still called रुद्रs , took the place of the original रुद्रs or मरुत्s: in VP. i , 7, रुद्र is said to have sprung from ब्रह्मा's forehead , and to have afterwards separated himself into a figure half male and half female , the former portion separating again into the 11 रुद्रs , hence these later रुद्रs are sometimes regarded as inferior manifestations of शिव , and most of their names , which are variously given in the different पुराणs , are also names of शिव ; those of theVa1yuP. are अजैकपाद् , अहिर्-बुध्न्य , हर , निरृत , ईश्वर , भुवन , अङ्गारक , अर्ध-केतु , मृत्यु , सर्प , कपालिन् ; accord. to others the रुद्रs are represented as children of कश्यपand सुरभि or of ब्रह्मा and सुरभि or of भूत and सु-रूपा ; accord. to VP. i , 8, रुद्र is one of the 8 forms of शिव ; elsewhere he is reckoned among the दिक्-पालs as regent of the north-east quarter) RV. &c (cf. RTL. 75 &c ) |
Sāyaṇa/Wilson translation RV 10.125
10.125.01 I proceed with the Rudras, with the Vasus, with the ādityas, and with the Viśvedevā; I support both Mitra and Varuṇa, Agni and Indra, and the two Aśvins.[Deity Pramātmā: the word, or first of creatures].
10.125.02 I support the foe-destroying Soma, Tvaṣṭā, Pūṣan and Bhaga; I bestow wealth upon the institutor of the rite offering the oblation, deserving of careful protection, pouring forth the libation.
10.125.03 I am the sovereign queen, the collectress of treasures, cognizant (of the Supreme Being), the chief of objects of worship; as such the gods have put me in many places, abiding in manifold conditions, entering into numerous (forms.
10.125.04 He who eats food (eats) through me; he who sees, who breathes, who hears what is spoken, does so through me; those who are ignorant of me perish; hear you who have hearing, I tell that which is deserving of belief.
10.125.05 I verily of myself declare this which is approved of by both gods and men; whomsoever I will, I render formidable, I make him a Brahmā, a r̥ṣi, or a sage. [A Brahman: Brahmā, the creator].
10.125.06 I bend the bow of Rudra, to slay the destructive enemy of the Brāhmaṇa-s, I wage war with (hostile) men. I pervade heaven and earth.
10.125.07 I bring forth the paternal (heaven) upon the brow of this (Supreme Being), my birthplace is in the midst of the waters; from thence I spread through all beings, and touch this heaven with my body.Griffith translation RV 10.125
10.125.08 I breathe forth like the wind giving form to all created worlds; beyond the heaven, beyond this earth (am I), so vast am I in greatness.
1. I TRAVEL with the Rudras and the Vasus, with the Adityas and AllGods- I wander.
I hold aloft both Varuna and Mitra, Indra and Agni, and the Pair of Asvins.
2 I cherish and sustain highswelling- Soma, and Tvastar I support, Pusan, and Bhaga.
I load with wealth the zealous sdcrificer who pours the juice and offers his oblation
3 I am the Queen, the gathererup- of treasures, most thoughtful, first of those who merit worship.
Thus Gods have stablished me in many places with many homes to enter and abide in.
4 Through me alone all eat the food that feeds them, each man who sees, brewhes, hears the word
outspoken
They know it not, but yet they dwell beside me. Hear, one and all, the truth as I declare it.
5 1, verily, myself announce and utter the word that Gods and men alike shall welcome.
I make the man I love exceeding mighty, make him a sage, a Rsi, and a Brahman.
6 I bend the bow for Rudra that his arrow may strike and slay the hater of devotion.
I rouse and order battle for the people, and I have penetrated Earth and Heaven.
7 On the worlds' summit I bring forth the Father: my home is in the waters, in the ocean.
Thence I extend over all existing creatures, and touch even yonder heaven with my forehead.
8 I breathe a strong breath like the wind and tempest, the while I hold together all existence.
Beyond this wide earth and beyond the heavens I have become so mighty in my grandeur.
Reverse side of a two-sided tablets m0478, 0479, 0480. in bas relief. Kneeling adorant carrying a U-shaped rimless pot in front a tree. NOTE: The kneeling motif also occurs on Sit Shamshi bronze.
Three identical Mohenjo-daro tablets, with identical inscriptions. m 478-480.
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FS 72 Fig. 108 kol pasar 'tiger open mouth' rebus: kol pasar iron smelter trader's shop' PLUS battuḍu 'worshipper' rebus: pattar 'goldsmith guild' PLUS kuṭi 'tree''water-carrier' rebus: kuṭhi 'smelter' PLUS dhamkara 'leafless tree' Rebus: dhangar '
kāṇā, kannā 'rim, edge' kaṇṭu = rim of a vessel; kaṇṭudiyo = a small earthen vessel kaṇḍa kanka = rim of a water-pot; kankha = rim of a vessel rebus: kanda, kanduka 'trench, furnace'. Rebus: karṇika 'Supercargo'' merchant in charge of cargo of a shipment, helmsman, scribe. Rebus kañiāra 'helmsman' karaṇī, karaṇa 'scribe'.
erga = act of clearing jungle (Kui) [Note image showing two men carrying
Hieroglyph: 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)
kuTi 'tree' Rebus: kuṭhi = (smelter) furnace (Santali)
heraka = spy (Skt.); eraka, hero = a messenger; a spy (Gujarati); er to look at or for (Pkt.); er uk- to play 'peeping tom' (Ko.) Rebus: 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.) eraka ‘copper’ (Kannada)
kōṭu branch of tree, Rebus: खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge.
Hieroglyph: Looking back: krammara 'look back' (Telugu) kamar 'smith, artisan' (Santali)
kola ‘tiger, jackal’ (Kon.); rebus: kol working in iron, blacksmith, ‘alloy of five metals, panchaloha’ (Tamil) kol ‘furnace, forge’ (Kuwi) kolami ‘smithy’ (Telugu)
m478a FS 34 Fig. 77 Kino tree. generally within a railing or on a platform.
kuṭi 'tree'Rebus: kuṭhi 'smelter'
bhaṭa 'worshipper' Rebus: bhaṭa 'furnace' baṭa 'iron' (Gujarati) This hieroglyph is a phonetic deterinant of the 'rimless pot': baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) bhaṭa 'a furnace'. Hence, the hieroglyph-multiplex of an adorant with rimless pot signifies: 'iron furnace' bhaTa.
bAraNe ' an offering of food to a demon' (Tulu) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin) (Punjabi. Bengali) The narrative of a worshipper offering to a tree is thus interpretable as a smelting of three minerals: copper, zinc and tin.
Numeral four: gaNDa 'four' Rebus: kand 'fire-altar'; Four 'ones': koḍa ‘one’ (Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the pair of 'four linear strokes PLUS rimless pot' signifies: 'fire-altar (in) artisan's wrkshop'.
Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the circumscript signifies 'cast metal workshop'. meD 'body' Rebus: meD 'iron'.
khareḍo = a currycomb (G.) Rebus: kharādī ‘turner’ (Gujarati)
The hieroglyph may be a variant of a twisted rope.
dhāu 'rope' rebus: dhāu 'metal' PLUS मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' rebus: mẽṛhẽt, meḍ ‘iron’. Thus, metallic ore.
Read on...http://tinyurl.com/y47uur9m
Śiva Sūtrāṇi of Vasugupta -- Cascading commentary by Pavel Celba (2009)
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Śiva Sūtrāṇi of Vasugupta -- Cascading commentary by Pavel Celba (2009)
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