https://tinyurl.com/y5s9sxnk
Makara is NOT a myth. It is an abiding reality, as close to truth as any civilizational narrative can get. It is a breath-taking orthographic rendering of activities resulting in the creation by artisan and merchant guilds of shared wealth of a nation. Ganga river basin of Sarasvati Civilization resonates with metalworkers, smelters. This reality is signified by (dh)makara vāhana rebus: ध्माकारः, धमकः 'blacksmith''bellowsblower, smelter'.
This monograph establishes the abiding reality of Indus Script Cipher enshrined in (dh)makara, 'a composite animal, rebus: dhmākara, 'bellows-blower, blacksmith, smelter'. These artisans are producers of the shared wealth of a nation. Makara is a treasure of Kubera, and one of the 8 treasures called पद्मिनी. It is a recitation over (metal) weapons.
This rebus reading is confirmed by many sculptural representations of makara disgorging from its mouth, an artisan, the smelter, smith.
(dh)makara is pronounced makara in वाजसनेयि-संहिता. मकर m. a kind of sea-monster (sometimes confounded with the crocodile , shark , dolphin &c ; regarded as the emblem of काम-देव [cf. मोकर-केतन &c below] or as a symbol of the 9th अर्हत् of the present अवसर्पिणी ; represented as an ornament on gates or on head-dresses) (वाजसनेयि-संहिता); N. of the 10th sign of the zodiac (Capricornus) Su1ryas. Var. &c; an army of troops in the form of a मकर Mn. vii , 187; an ear-ring shaped like a मकर BhP. (cf. मकर-कुण्डल); one of the 9 treasures of कुबेर; one of the 8 magical treasures called पद्मिनी Ma1rkP.; a partic. magical spell recited over weapons R. (Monier-Williams) mākara माकर a. (-री f.) Belonging to the sea-monster, Makara q. v. -री N. of the seventh day in the bright half of Māgha; तन्मे रोगं च शोकं च माकरी हन्तु सप्तमी Tithyādi. -Comp. -आकरः the sea. -आसनम् a particular posture in sitting. -व्यूहः a particular form of military array.(Apte) माकर mf(ई)n. relating or belonging to a मकर or sea-monster (with आकर m. mine of मकर , the sea Nalo7d. ; with आचन n. a partic. posture in sitting Cat. ; with व्यूह m. a partic. form of military array Hariv. ; with सप्तमी f. =मकर-सप्तमी;m. pl. N. of a people VarBr2S. (Monier-Williams)
The sememe dhma dates back to the days of R̥gveda (RV V.9.5), ca. 5th millennium BCE:
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"Trita ("the Third") is a minor deity of the Rigveda, mentioned 41 times. He is associated with the Maruts, with Vayu and with Indra, like Indra, or as Indra's assistant, fighting Tvaṣṭr̥, Vr̥tra and Vala. He is called Āptya, meaning "son of the deity of the Apas (waters)" and a friend of Indra.…In RV 1.105, Trita fallen into a well begs aid from the gods. Sāyaṇa on 1.105 comments that this relates to three rishis, Ekata, Dvita and Trita who found a well, and Trita, drawing water, was pushed down by the other two and imprisoned, where he composed a hymn to the gods, and managed miraculously to prepare the sacrificial Soma; this is alluded to in RV 9.34.4 and described in Mahabharata 9.2095."https://en.wikipedia.org/wiki/Trita त्रित is the repository of Soma ('prepares Soma, keeper of nectar' RV ix.34.4, vi.44.23), of wealth. N. of a Vedic deity (associated with the मरुत्s , वायु , and इन्द्र ; fighting like the latter with त्रित , वृत्र , and other demons ; called आप्त्य [q.v.] , " water-deity " , and supposed to reside in the remotest regions of the world , whence [ RV. viii , 47 , 13-15 AV. ] the idea of wishing to remove calamity to त्रित , and the view of the त्रितs being the keepers of nectar [ RV. vi , 44 , 23] , similarly L. [ RV. ii , 34 , 10 TS. i TBr.i] the notion of त्रित's bestowing long life ; also conceived as an inferior deity conquering the demons by order and with the help of इन्द्र [ RV. ii ; viii , 52 , 1 ; x] ; fallen into a well he begged aid from the gods [i , 105 , 17 ; x , 8 , 7] ; as to this last myth Sa1y. on i , 105 relates that 3 ऋषिs , एकत , द्वित , and त्रित , parched with thirst , looked about and found a well , and when त्रित began to draw water , the other two , desirous of his property , pushed him down and closed up the well with a wheel ; shut up there , त्रित composed a hymn to the gods , and managed miraculously to prepare the sacrificial सोम , that he might drink it himself , or offer it to the deities and so be extricated: this is alluded to in RV. ix , 34 , 4 [cf. 32 , 2 ; 38 , 2 ; 102 , 2] and described in MBh. ix , 2095 ; also Nir. iv , 6 makes him a ऋषि , and he is the supposed author of RV. i , 105 ; viii , 36 ; ix , 33 f. and 102 ; x , 1-7 ; in epic legends [ MBh. ix , xii f.] एकत , द्वित , and त्रित are described as 3 brothers , sons of गौतम or of प्रजा-पति or ब्रह्मा ; elsewhere त्रित is one of the 12 sons of मनु चाक्षुष by नड्वला BhP. iv , 13 , 16 ; cf. त्रैतन्/अ ; Zd. Thrita (Monier-Williams)
ध्मातृ m. a blower , smelter or melter (of metal) RV v , 9 , 5; n. a contrivance for blowing or melting ib. ध्माकारः dhmākārḥ ध्माकारः A blacksmith, smith; dhamakḥ धमकः A blacksmith.(Apte)
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Glowing like flames of fire, impetuous in career, blowing the wandering raincloud-, have disclosed
the kine.
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This is from Candi Sukuh temple, Java, Indonesia. Bhima is the smith, Arjuna is the bellows-blower. Gaṇeśa, scribe does a karana, 'dance step'. karibha, ibha 'elephant' rebus karba, ib 'iron' (Meluhha). This is an example of Indus Script Hypertext. The narrative is from Bhimaswarga which is Javanese version of Mahābhārata.
इध्म m. (n. L. ) fuel in , general; fuel as used for the sacred fire RV. AV. S3Br.
Ka1tyS3r. A1s3vGr2. MBh. &c; N. of an आङ्गिरस GopBr. ([cf. Zd. aesma ;
Hib. adhmad.]) (Monier-Williams) idhmávant ʻ provided with fuel ʼ TBr. [idhmá -- m. ʻ fuel ʼ RV.: √indh ]Wg. ε̄͂daté ʻ fire -- place ʼ or < *indhastha -- .(CDIAL 1568) 1583 índha m. ʻ kindling ʼ ŚBr. [√indh ]*indhastha -- . 1584 indhana n. ʻ lighting, kindling, fuel ʼ MBh. [√indh ]Pa. indhana -- n. ʻ fuel ʼ, Pk. iṁdhaṇa -- n., P. innhaṇ m., B. indhan (← Sk.?), Aw. lakh. ī˜dhanu , H. ī˜dhan m., G. ĩdhaṇ, ĩdhṇũ n., (North Gujarat) e_ dhṇã̄ n. pl. -- Kal. idhōn ʻ tripod to put over the fire ʼ semant. difficult, poss. < uddhāna -- 1 .*indhanakuṭaka -- . 1585 *indhanakuṭaka ʻ fuel -- store ʼ [indhana -- , kuṭī -- ]H. ĩdhauṛā m. ʻ room for storing wood ʼ. 1586 *indhastha ʻ fuel -- place ʼ. [índha -- , stha -- ]Wg. ε̄͂daté ʻ fire -- place ʼ or < idhmávant -- .
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Sāyaṇa/Wilson translation (RV 9.73)
9.073.01 (The streams) of the dripping effused (Soma) sound together on the jaw (of the sacrifice), the Soma-juices flow together to the place of sacrifice. The powerful (Soma) has made the three exalted worlds for the use (of men and gods); the ships of the truthful (Soma) satisfy the pious worshipper. [On the jaw of the sacrifice: srave = the plank of the Soma press, adhis.avan.a phalaka, which is the jaw of the sacrifice; the ships: i.e., the four pots for the a_ditya, a_grayan.a, ukthya and dhruva libations.
9.073.02 The mighty (priests) assembled together send forth (the Soma) together; desirous (of heaven) they drive it to the wave of the river; generating praise they nourish the previous body of Indra with the streams of the exhilarating Soma.
9.073.03 (The rays of the Soma) having the means of purification sit round the voice (of the firmament), their ancient father protects their (light-giving) work; Soma the all-developer has overspread the mighty firmament (with them); the skilful (priests) are able to conduct (the Soma) to the all-sustaining (waters). [The voice of the firmament: va_cam = voice of the firmament (or middle world) residing in the Soma; 'Soma stand in the firmament; the King Soma sit among the gandharvas'' (somo vai ra_ja_ gandharves.va_si_t) (Aitareya Bra_hman.a). The voice of the firmament is thunder, and the rays of the Soma refer to the moon or the Soma juices identified with the rain].
9.073.04 (The Soma rays) in the firmament of a thousand streams (unite with the earth) below; in the summit of heaven, sweet-tongued, in separate drops, his rays, swiftly moving, never shut their eyes; fixed each in his place, they are the molesters (of sinners). [His rays: spas'ah = sa_rabhu_ta_ ras'mayah; or, spies; never shut their eyes: 'but always keep watch to know the evil and the good, or always keep on alert as kings to guard against enemies; fixed each in his place: 'in every place there are barriers strewn with snares (to keep off and catch the wicked or the ra_ks.asas), or, prisons filled with fetters].
9.073.05 (The rays) which were manifested in heaven and earth, illumined by the hymn (of praise), consuming the impious (sacrificers), drive away by their wisdom from earth and heaven the black-skinned (ra_ks.asas) hated by Indra.
9.073.06 (The rays) which regulating praise and purposing rapidity of action, were manifested from the ancient firmament, them the blind and deaf avoid; the wicked traverse not the path of truth. [The blind and deaf: i.e., spiritually blind and deaf, those who do not see good objects-- those who do not hear the praise of the gods].
9.073.07 The intelligent sages extol the voice (of the firmament) in the purifying extended (Soma) with its thousand streams; the Rudras are their servants, swift-moving, inviolable, revered, of goodly aspect, the beholders of men. [Their servants: spas'ah = va_ca_ vas'inah (obedient voices)].
9.073.08 (Soma) the protector of the sacrifice, the doer of good deeds cannot be resisted; he places in his heart the three purifiers; he the all-wise looks over all worlds; he censures those who are hostile in action, who sacrifice not. [He places in his heart: i.e., combines in himself; the three purifiers are agni, va_yu and the sun].
9.073.09 The threads of the sacrifice spread over the filter extends by its act to the tip of Varun.a's tongue; the wise approaching reached it;but he who is incompetent for the rite sinks (to hell) even in this world. [Varun.a's tongue: i.e., the vasati_vari_ waters, which are on the tip of Varun.a's tongue; the wise...reached it: 'it' refers to the tip of Varun.a's tongue; the wise reach it by their praises or oblations.
Griffith translation RV 9.73)
Soma Pavamana. 73
1. THEY from the spouting drop have sounded at the rim: naves speed together to the place of sacrifice.
That Asura hath formed, to seize, three lofty heights. The ships of truth have borne the pious man across.
2 The strong Steers, gathering, have duly stirred themselvesand, over the streams' wave the friends sent forth the song.
Engendering the hymn, with flowing streams of meath, Indras' dear body have they caused to wax in strength.
3 With sanctifying gear they sit around the song: their ancient Father guards their holy work from harm.
Varuna hath overspread the mighty sea of air. Sages had power to hold him in sustaining floods.
4 Sweettongued-, exhaustless, they have sent their voices down togetlier, in heavens' vault that pours a thousand streams.
His wildlyrestless- warders never close an eye: in every place are found the bonds that bind man last.
5 Over Sire and Mother they have roared in unison bright with the verse of praise, burning up riteless men,
Blowing away with supernatural might from earth and from the heavens the swarthy skin which Indra hates.
6 Those which, as guides of song and counsellors of speed, were manifested from their ancient dwelling place,
From these the eyeless and the deaf have turned aside: the wicked travel not the pathway of the Law.
7 What time the filter with a thousand streams is stretched, the thoughtful sages purify their song therein. Brightcoloured- are their spies, vigorous, void of guile, excellent, fair to see, beholders of mankind.
8 Guardian of Law, most wise, he may not be deceived: three Purifiers hath he set within his heart.
With wisdom he beholds all creatures that exist: he drives into the pit the hated riteliess ones.
9 The thread of sacrifice spun in the cleansing sieve, on Varunas' tonguetip-, by supernatural might,
This, by their striving, have the prudent ones attained: he who hath not this power shall sink into the pit.
ध्म mfn. blowing , a blower (cf. तूण- , शङ्क-).
ध्मा or धम् cl.1 P. ध्/अमति (A1. °ते Up. MBh. ; p. ध्मान्तस् = धमन्तस् BhP. x , 12 , 7 ; perf. दध्मौ ,3. pl. A1. °मिरेMBh. ; aor. अध्मासीत् Ka1v. ; Prec. ध्मायात् or ध्मेयात् Gr. ; fut. धमिष्यति MBh. ; ध्मास्यति,ध्माता Gr. ; ind.p. -ध्म्/आय Br. ) to blow (either intrans. as wind [applied also to the bubbling सोम RV. ix , 73] or trans. as, to blow a conch-shell or any wind instrument) RV. &c ; to blow into (loc.) MBh. l , 813 ; to breathe out , exhale RV. ii , 34 , 1 MBh. xiv , 1732 ; to kindle a fire by blowing RV. ii , 24 , 7 MBh. ii , 2483 ; to melt or manufacture (metal) by blowing RV. &c ; to blow or cast away MBh. v , 7209 : Pass. धम्यते , ep. also °ति , ध्माय्/अते , °ति ( S3Br. MBh. ) to be blown&c : Caus. ध्मापयति MBh. (aor. अदिध्मपत् Gr. ; Pass. ध्माप्यते MBh. ) to cause to blow or melt ; to consume by fire , reduce to cinder MBh. Sus3r. : Desid. दिध्नासति Gr.:
Intens. देध्मीयते Pa1n2. 7-4 , 31 ; दाध्मायते , p. °यमान being violently blown (conch-shell) BhP. i , 11 , 2. [cf. Slav. dumo " smoke "]; m. (?) blowing. (Monier-Williams) ध्मा dhmā ध्मा 1 P. (धमति, ध्मात; Caus. ध्मापयति) 1 To blow, breathe out, exhale. -2 To blow (as a wind-instru- ment), produce sound by blowing; शङ्खं दध्मौ प्रतापवान् Bg.1.12,18; R.7.63; Bk.3.34;17.7. -3 To blow a fire, excite fire by blowing, excite sparks; को धमेच्छान्तं च पावकम् Mb. -4 To manufacture by blowing. -5 To cast, blow, or throw away.(Apte)
ध्माकारः dhmākārḥ ध्माकारः A blacksmith, smith.(Apte)
ध्मात mfn. blown , blown up or into RV. &c; inflamed , excited;n. a partic. wrong pronunciation of vowels (पतञ्जलि)(Monier-Williams) ध्मात dhmāta ध्मात p. p. [ध्मा-क्त] 1 Blown (as a wind-instrument). ध्माता गिरेर्धातवः Bh. -2 Blown up or into, inflamed, blown, fanned, excited. -3 Inflated, puffed, puffed up.(Apte)
ध्मातृ m. a blower , smelter or melter (of metal) RV. v , 9 , 5; n. a contrivance for blowing or melting ib.
ध्मान n. blowing , puffing , swelling Sus3r. (Monier-Williams) ध्मानम् dhmānam ध्मानम् Blowing. (Apte)
ध्मापन (Caus. of √ धम्) n. the act of reducing to (powder , &c ) or any contrivance for it Car. (Monier-Williams) ध्मापनम् dhmāpanam ध्मापनम् Inflating, swelling by blowing into.(Apte)
ध्मा° पित mfn. reduced to ashes , burnt to a cinder (क्षौम) Sus3r. (Monier-Williams) ध्मापित dhmāpita ध्मापित a. Reduced to ashes, burnt to cinder.(Apte)
ध्मायत् mf(अन्ती)n. being blown , being melted &c
The following are excerps from https://sa.wikisource.org/wiki/वाचस्पत्यम्
https://sa.wikisource.org/wiki//शब्दकल्पद्रुमः on the expressions including the sememes: मकर, धमm ध्मा:
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A dwarf, kharva, of the gaṇa, with headband fighting a Makara. Torana of Stupa 3 in Sanchi.
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Hero dwarf, kharva, of the gaṇa,with headband wrestling a Makara. Stupa 3 front architrave bottom panel right post.jpg
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Makara and Kirtimukha protecting portal of Chennakesava Temple at Belur, India
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Makara Thoranam above the door of the to Garbhagriha of Chennakesava Temple at Belur. Two makaras are shown on either end of the arch.
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Makara. Bantey Srei.
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Flip horizontal
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Lintel. Provenance: Cambodia, Kompong Thom Province, Sambor Prei Kuk S7. Style of Sambor Prei Kuk. 1st half of the 7th century.Detail showing the edge of the lintel and a Marut, god of the storm and wind. Guimet Museum, Paris.
https://commons.wikimedia.org/wiki/File:Mus%C3%A9e_Guimet_897_03.jpg On this sculptural frieze, kīrtimukha kola 'feline' panja 'feline paw' rebus panja'kiln, furnace' get embellished with phaḍa 'cobra hood' to signify rebusphaḍa 'metals manufactory'. Thus, both smelters and metal manufactories are signified in the sculptural hypertext.
An expression of this hypertext is seen on Gardez Gaṇeśa Mūrti. See:
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Cham god Nāga emerging from mouth of Makara at the National Museum of Vietnamese History. A decorative theme that originated in Java, and from there emanated to other parts of Greater India, is that of the makara sea monster disgorging some other being.
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Ganga relief depicting the goddess atop her makara mount at Kelaniya Temple Sri Lanka.
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Ganga on makara. Makara upholds a flaming torch, reinforcing the association with fire-altar, Soma SamsthA.
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Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From Besnagar, Bhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States.
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Begram ivory, 2nd cent. BCE
http://museum.wa.gov.au/museums/perth/afghanistan-hidden-treasures/exhibition-highlights![]()
Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river
http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884
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Ma Ganga, standing on the makara (crocodile/dragon thing) that is her animal vehicle. The image is at least 8 feet tall, and is located on the facade of cave 21Ellora, Maharashtra.
http://personal.carthage.edu/jlochtefeld/picturepages/ElloraHindu2011/ellora3.html
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Asian Art Museum of San Francisco: Ma Ganga on Makara
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Ganga on Makara.5th cent. CE. Ajanta caves.
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(Ảnh: makara Ấn Độ, nguồn: Courtesy: Robert Beer
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Ganga on makara. Varuṇa on makara.Varuṇa on makara, Halebidu. Varuna on makara, Lakkundi, Lokki Gundi, Gadag. Association of makara with waters and seafaring is consistent with the metaphor of makara as human effort to acquire wealth by the artisanal work of dhmakara 'forge-blower' dhamaka 'blacksmith' and of Meluhha seafaring merchants.![]()
Aihole. Durga Temple. karibha, ibha 'elephant' rebus: karba,ib 'iron'. The paws of makara are feline. panja 'feline paws' rebus: panja 'kiln, furnace'. ![]()
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“Makaradhvaja is a popular Kupipakwa Rasayana, prepared with the Swarna (gold), Parada (mercury) and Gandhaka (sulfur) in a specified ratio. It was first described by Rasendra Chintamani[1] by the name ofChandrodaya Rasa, although the word Makaradhvaja was first coined by Rasaratnakara. The term Makaradhvaja is composed of two words, i.e. Makara and Dhvaja. The term Makaradhvaja is also a synonymous of Kamadeva,[2] the God of beauty.” (Khedekar S, Patgiri BJ, Ravishankar B, Prajapati PK., 2011, Standard manufacturing process of Makaradhvaja prepared by Swarna Patra - Varkha and Bhasma. Ayu. 2011 Jan;32(1):109-15.) http://www.ncbi.nlm.nih.gov/pubmed?
"In Vedic Astrology Capricorn was associated with the Crocodile but modern astrologers consider Capricorn as Sea goat. Its symbol is based on the Sumerians' primordial god of wisdom and waters, Enki,with the head and upper body of a goat and the lower body and tail of a fish. Later known as Ea in Akkadian and Babylonian mythology, Enki was the god of intelligence (gestú, literally "ear"), creation, crafts; magic; water, seawater and lakewater (a, aba, ab)."
https://en.wikipedia.org/wiki/Capricorn_(astrology)
Suvannamaccha yields the association with gold, a material for wealth. Suvannamaccha, gold fish, macchanu fish (ayo, fish' rebus: aya 'iron' ayas 'metal') and makara dhvaja are all related to metalwork processes. Makaradhvaja in Rasayana, ancient alchemical traditionsis preparedwith svarna 'gold' parada (darada 'cinnabar', 'mercury') and gandhaka 'sulfur'.
This extraordinary links with metallurgy is what makes makara an extraordinary hieroglyph to signify wealth.
makara is the Meluhha mispronunciation or phonetic variant of the underlying word dhmakara 'bellows blower'. With its gaping mouth (like the trunk of an elephant), the composite animal signifying the iconographic rendering of the blowing bellows as the iron ore and other mineral ores get smelted. Ghariyal is a Gangetic crocodile. Crocodile is also a water-mammal of the seas and tanks.
Dhmakara as a composite animal is chosen to render rebus the wealth-accounting ledger entry in Indus Script cipher: ध्माकारः, धमकः 'blacksmith'; ध्मातृ 'bellowsblower, smelter (of metal)(RV V.9.5).
I submit that the choice is driven by an Indus Script cipheer rebus reading:
Hieroglyph makara -- (dh)makara-- rebus: ध्माकारः, धमकः 'blacksmith'; ध्मातृ 'bellowsblower, smelter (of metal)(RV V.9.5). This rca invokes Agni, comparing the divine to the bellows-blower using three cognate, semantically reinforcing expressions, dhmāta,dhamati,dhmātari.
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Ganga on (dh)makara. Rebus: ध्माकारः, धमकः 'blacksmith'; ध्मातृ 'bellowsblower, smelter (of metal)(RV V.9.5) signifies a wealth-accounting ledger in Indus Script Cipher, resulting from iron ore smelting and related metalwork in a smithy, forge.
This choice of (dh)makara vāhana is made for Ganga river because, the river basin is replete with metalworkers, smiths, working with bellows, with iron ores. See: http://www.archaeologyonline.net/artifacts/iron-ore
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Map showing locations of the Early Iron Age sites in the Central Ganga Plain, the Eastern Vindhyas, and different regions of India.![excavation]()
Damaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli.
Makara as a composite animal flows from the Indus Script pictographic narratives to signify wealth of a nation.
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One side (m1431B) of a four-sided tablet shows a procession of a tiger, an elephant and a rhinoceros (with fishes (or perhaps, crocodile) on top?).
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Ligatured elephant + crocodile glyph on Bharhut sculpture. A joined animal is sangada. Rebus: sāngada 'double-canoe, seafaring vessel'. Hence, makara as sangada is the vAhana of Ganga which was a navigable waterway. Cargo were products out of khambhaṛā 'fish fin' rebus: kammaṭa 'mint, coiner, coinage', made by karA 'crocodile' rebus: khAr 'blacksmith'; karibha 'elephant trunk' ibha 'elephant' rebus: karba, ib 'iron'. Makara is the quintessential proclamation of the life-work of artisans of the Bronze Age revolution. These artisans created the Bharhut, Sanchi stupa and other temples as monuments, celebrating their life-activities signified by these metaphors, these Indus Script hie![]()
Makara jhasa. medda 'ram' rebus: medha 'yajna' medhA 'dhanam'. med 'iron' (Mu.Ho.) med 'copper' (Slavic) The curves tying up the central fish on śrivatsa glyph or making up the makara composition are cephalopod spirals to denote that the glyphs are maritime/riverine treaures sippi 'mollusc' rebus: sippi 'artificer'. The artificer works with metals: karibha 'trunk of elephant' ibha 'elephant' rebus: karba, ib 'iron' karA 'crocodile' rebus: khAr 'blacksmith' khambhaṛā 'fish fin' rebus: kammaTa 'mint, coiner, coinage'.
Makara Bharhut, c. 100 BC Indian Museum, Calcutta Something of the origin of the makara, or at least its early composition in India, can be seen here. The water beast, confined beneath a ledge with kneeling rams that represent the realm of land, is pictured here with the snout of a crocodile, the head and forequarters of an elephant, the body of a snake, and the fins and tail of a fish. http://www.art-and-archaeology.com/india/calcutta/cm13.html
The shell component of this motif may be read as: sippi 'mollusc' rebus: sippi 'artificer' Alternative: ha_ngi snail (K.); sa~_khi possessing or made of shells (B.); ho~gi pearl oyster shell, shell of any aquatic mollusc (K.); ha_ngi snail (K.)(CDIAL 12380). gongha = snail’s shell (Santali). Cf. conch (English). Cypraea moneta or a cowrie used as a coin. Rebus: kangar ‘portable furnace’ (K.) A possible depiction of a kaula mangra ‘blacksmith’ working with s’ankha ‘shell’ and and indicaton of jhasa ‘fish’; rebus: jasa ‘prosperity, fame’.
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https://www.tripadvisor.in/ShowUserReviews-g298085-d454979-r637550007-Da_Nang_Museum_of_Cham_Sculpture-Da_Nang.html#photos;aggregationId=101&albumid=101&filter=7&ff=318760759
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Cham sculpture at the Museum of Cham Sculpture, Da Nang, Vietnam. This artwork is in the public domain because the artist died more than 70 years ago. Photography was permitted in the museum without restriction.
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Sanchi aya 'fish' rebus: aya 'iron' ayas 'alloy metal'![Click the image to open in full size.]()
Sanchi
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Bharhut![Click the image to open in full size.]()
Bharhut
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Bharhut
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Plate XXXVI. 10 Medallion Bharhut Stupa
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Makara. Bali. Penataran Sasih temple
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Northern Qi dynasty, ca. 550 CE (Exhibitd at National Gallery of Victoriain Melbourne, Australia)
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Makara with elephant trunk (Exhibited in Indian Museum, Kolkata)
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Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')
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The makara sculptures which adorn many temples is a hieroglyph multiplex of elephant, crocodile, fish: ibha 'elephant' rebus: ib 'iron'; mahākara, karā 'crocodile' Rebus: khār 'blacksmith' (Kashmiri); aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda). kola 'tiger' rebus: kol 'working in iron'. It is a hieroglyphic celebration of metalwork as the exemplar of creativity which is the quintessence of the temple-smithy: kole.l puccha 'fish tail' Rebus: puja 'worship'. xolā 'tail' Rebus: kole.l 'smithy, temple' kol 'working in iron' kolimi 'smithy, forge'. khambhaṛā 'fish-fin kammaṭa 'mint, coiner, coinage' ![]()
Makara and merchant ship. Narrative on Borobodur sculptural frieze..![]()
"The animal is damaged, but was originally endowed with only two front legs. The snout is broken; the open mouth, filled with saw teeth, is bordered by ridged lips. The eyes are bulging and have thick curling eyebrows. The finlike ears are adorned with pendants, each consisting of four strands of beads held together by a rectangular plaque. The flat modeling of the curled tail, the top and side surfaces of which meet almost at right angles, are strongly reminiscent of Bharhut sculpture of the 2nd century B.C. The makara probably crowned a votive column (dhvaja stambha) before a temple or site sacred to Pradyumna, one of the Pancavrsnis. An image of the same period has also been discovered at Besnagar, ancient Vidisa."
http://museumsofindia.gov.in/repository/record/alh_ald-AM-SCL-59-3541
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Besnagar. Makara dhvaja with makara.on capital of pillar.
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Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')
Makara on sculptures is useed on torana, gateways of monuments. On many ancient sculptural friezes, makara yields a creeper as a decorative ornament on the temple gateway.
Some see in a makara, body parts of six or seven animals such as the trunk of the elephant, jaws of thecrocodile, ears of the mouse or ape, extruding teeth of wild swine, the tail plume of the peacock and feet of the lion. Clough, B. (1997). Sinhalese English Dictionary. Asian Educational Services. p. 163.
Hieroglyph: makara 'crocodile' rebus: mukura 'flower-bud'
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Makara, Thap Mam, 13th century, Binh Dinh - Museum of Cham
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Makara. Bantey Srei.
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Rows of elephants, makara on the base of Chennakesava tempe, Beluru. karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'.
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Makara, ca. 14th cent.
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Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.
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Makara. Khajuraho.
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makara kundala on Vithoba at Pandharpur Maharashtra
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Makara at Nanpaya Temple, Bagan, Burma
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Makara on lintel from Sambor Prei Kuk temple, Kampong Thom City, Cambodia
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Makara from Northern Qi Dynasty (CE 550-577), China
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Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')
“Makaradhvaja is a popular Kupipakwa Rasayana, prepared with the Swarna (gold), Parada (mercury) and Gandhaka (sulfur) in a specified ratio. It was first described by Rasendra Chintamani[1] by the name ofChandrodaya Rasa, although the word Makaradhvaja was first coined by Rasaratnakara. The term Makaradhvaja is composed of two words, i.e. Makara and Dhvaja. The term Makaradhvaja is also a synonymous of Kamadeva,[2] the God of beauty.” (Khedekar S, Patgiri BJ, Ravishankar B, Prajapati PK., 2011, Standard manufacturing process of Makaradhvaja prepared by Swarna Patra - Varkha and Bhasma. Ayu. 2011 Jan;32(1):109-15.) http://www.ncbi.nlm.nih.gov/pubmed?
Suvannamaccha yields the association with gold, a material for wealth. Suvannamaccha, gold fish, macchanu fish (ayo, fish' rebus: aya 'iron' ayas 'metal') and makara dhvaja are all related to metalwork processes. Makaradhvaja in Rasayana, ancient alchemical traditionsis preparedwith svarna 'gold' parada (darada 'cinnabar', 'mercury') and gandhaka 'sulfur'.
This extraordinary links with metallurgy is what makes makara an extraordinary hieroglyph to signify wealth.
Makara on sculptures is useed on torana, gateways of monuments. On many ancient sculptural friezes, makara yields a creeper as a decorative ornament on the temple gateway.
Some see in a makara, body parts of six or seven animals such as the trunk of the elephant, jaws of thecrocodile, ears of the mouse or ape, extruding teeth of wild swine, the tail plume of the peacock and feet of the lion. Clough, B. (1997). Sinhalese English Dictionary. Asian Educational Services. p. 163.
Hieroglyph: makara 'crocodile' rebus: mukura 'flower-bud' Hence the lavi
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Makara and Kirtimukha protecting portal of Chennakesava Temple at Belur, India
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Makara Thoranam above the door of the to Garbhagriha of Chennakesava Temple at Belur. Two makaras are shown on either end of the arch.
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Ganga relief depicting the goddess atop her makara mount at Kelaniya Temple Sri Lanka
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:Makara, Thap Mam, 13th century, Binh Dinh - Museum of Cham
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Makara. Bantey Srei.
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Rows of elephants, makara on the base of Chennakesava tempe, Beluru. karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'.
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Makara, ca. 14th cent.
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Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.
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Makara. Khajuraho.
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Karava Makara flag from Sri Lanka with elephant/fish head and peacock tail. Karava may be cognate kaurava of Mahabharata. Both makara and peacock are metalwork catalogues. karā 'crocodile' rebus: khār 'blacksmith' moraka 'peacock' morakkaka loha 'a form of copper'.
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makara kundala on Vithoba at Pandharpur Maharashtra
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Makara torana. Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.
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Makara at Nanpaya Temple, Bagan, Burma
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Makara on lintel from Sambor Prei Kuk temple, Kampong Thom City, Cambodia
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Makara from Northern Qi Dynasty (CE 550-577), China
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Qi Dynasty. Glazed tile. 6th cent.
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Glazed tile, Northern Qi dynasty, 6th century
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See: https://japanesemythology.wordpress.com/tag/crocodile-wani-sea-deities-ryugu-dragon/
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Makara at Wat ThatPhun, Vientiane, Laos
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Makara from 7th century CE at National Museum Kuala Lumpur, Malaysia
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Makara and Kirtimukha at Hindu temple in Kathmandu, Nepal
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Kirtimukha and Nataraja. Aihole Open Air Gallery
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Makara with Nagas, Wat Suthat, Bangkok, Thailand
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Makara Serpent Images at Wat Chedi Luang a Buddhist Temple in Chiang Mai
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Makara 12th cent. Sandstone
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Cham god Nāga emerging from mouth of Makara at the National Museum of Vietnamese History
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Varuna on Makara, Halebidu.
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Varuna on makara, Lakkundi, Lokki Gundi, Gadag
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Ganga on makara. Makara upholds a flaming torch, reinforcing the association with fire-altar, Soma SamsthA.
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Asian Art Museum of San Francisco: Ma Ganga on Makara
Begram ivory, 2nd cent. BCE
http://museum.wa.gov.au/museums/perth/afghanistan-hidden-treasures/exhibition-highlights
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Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From Besnagar, Bhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States.
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Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river
http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884
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Ma Ganga, standing on the makara (crocodile/dragon thing) that is her animal vehicle. The image is at least 8 feet tall, and is located on the facade of cave 21Ellora, Maharashtra.
http://personal.carthage.edu/jlochtefeld/picturepages/ElloraHindu2011/ellora3.html
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Ganga on Makara. Kelaniya Temple. Sri Lanka.
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Asian Art Museum of San Francisco: Ma Ganga on Makara
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Ganga on Makara.5th cent. CE. Ajanta caves.
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Gupta era terracotta of Ma Ganga. Ahichchhatra, UP - now in the National Museum, New Delhi, India
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Row of Makara in base of Chennakesava Temple at Belur, Karnataka. Note Makara standing vertical at corner.
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Trimurti at the centre, Makara on top. Hoysalesvara temple, Halebidu.
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Hieroglyph: †*ḍagga -- 3 ʻ cattle ʼ. 2. †*ḍhagga -- 2 . [Cf. *ḍaṅgara -- 1 , *daṅgara -- ]
1. WPah.kṭg. ḍɔggɔ m. ʻ a head of cattle ʼ, ḍɔgge m.pl. ʻ cattle ʼ, sat. (LSI ix 4, 667) ḍōgai ʻ cattle ʼ.2. S.kcch. ḍhago m. ʻ ox ʼ, L(Shahpur) ḍhaggā m. ʻ small weak ox ʼ, ḍhaggī f. ʻ cow ʼ, Garh. ḍhã̄gu ʻ old bull ʼ. (CDIAL 5524) Rebus: ḍāṅro ʻ term of contempt for a blacksmith ʼ(N.)(CDIAL 5524).
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Here recessed semicircular form is used for Torana. Note Makara. All forms of arches are Makara-Torana. They can be built using 'true arch' or corbelling or carving. They could be bow shaped(pointed), semicircular etc. pic.twitter.com/xfikLEjlR5
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dhmakara = makara.ध्म blowing , a blower (cf. तूण- , शङ्क-)धमक" a blower " , blacksmith (as blowing the forge) Un2. ii , 35 Sāyaṇa. Celebration of creation of wealth of the nation.
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Sanchi. Makara frieze. Makara torana, Indus Script proclamation of nation's wealth creation by dhmakara, metalsmith artisans See Sanchi makara, karibha, ibha 'elephant' karba, ib 'iron' karā 'crocodile' khār 'blacksmith' khambhaṛā 'fish-fin kammaṭa 'mint, coiner, coinage' This is the signature tune of
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Makara sculpture, Jain Museum, Khajuraho
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Makara sculptures at the Candi Kalasan Temple, Indonesia
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![Makara' is a Sanskrit word which means "sea dragon" or "water-monster" and in Tibetan language it is called the "chu-srin".:]()
![A Gilt Bronze Makara Finial Tibet, 13th/14th Century The mythical creature with crocodile body elaborately cast with gaping mouth and coiled trunk, its tail rising up in a finely detailed foliate swirl, thickly cast from high copper content bronze with rich gilding, the base plate with two prongs 15½ in. (39.3 cm.) high:]()
A Gilt Bronze Makara Finial Tibet, 13th/14th Century The mythical creature with crocodile body elaborately cast with gaping mouth and coiled trunk, its tail rising up in a finely detailed foliate swirl, thickly cast from high copper content bronze with rich gilding, the base plate with two prongs 15½ in. (39.3 cm.) high https://www.pinterest.com/pin/308215168221862948/![]()
nāga is emerging from the jaws of another creature, makara.Wat Prasat, Thailand![]()
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"The door jambs of the sukhanasa and garbhagriha carry across intricately carved Makara toranas on the exterior. Its has a fine figure of Lakshmi-Narayana in the centre has excellent filigree work. The Makaras at the side bear Varuna and his consort on the back." http://rsubbu-thoughts.blogspot.in/2016_03_01_archive.html![]()
Bharhut coping from stupa, Cleveland Museum, Sunga, India, 2nd Century, B.C., Sculpture and painting- The Cleveland Museum, ACSAA
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Hieroglyph 1: mákara1 m. ʻ crocodile ʼ VS.Pa. makara -- m. ʻ sea -- monster ʼ; Pk. magara -- , mayara<-> m. ʻ shark ʼ, Si. muvarā, mōrā, Md. miyaru. -- NIA. forms with -- g -- (e.g. H. G. magar m. ʻ crocodile ʼ) or -- ṅg<-> (S. maṅgar -- macho m. ʻ whale ʼ, maṅguro m. ʻ a kind of sea fish ʼ → Bal. māngar ʻ crocodile ʼ) are loans from Pk. or Sk. or directly from non -- Aryan sources from which these came, e.g. Sant. maṅgaṛ ʻ crocodile ʼ.(CDIAL 9692) Hieroglyph 2: makura, makula, mukula 'bud'.mukula n. ʻ bud ʼ Suśr., makula -- 2 n. lex. 2. mukura -- , makura -- 2 n. lex. 3. *bakula -- 2 . [Cf. similar interchange of initial in bakula -- 1 . -- ← Drav., Tam. mokkuḷ &c., DED 4007; also mudgara -- 2 m. ʻ bud ʼ lex. with same variation of -- k -- ~ -- dg -- as in mukuṣṭha -- ]
1. Pa. makula -- m. ʻ bud ʼ, Pk. maüla -- m.n.; S. mora f. ʻ budding ʼ, morṛo m. ʻ fresh new leaf ʼ.
2. Pk. maüra -- m.n. ʻ bud ʼ; H. maur m. ʻ bud, blossom ʼ; G. mɔhɔr m. ʻ blossom ʼ.
3. MB. baula, B. bol ʻ bud, blossom of fruit tree, knob of a wooden clog ʼ; Or. baüḷa ʻ mango bud ʼ; Aw.lakh. baur ʻ mango blossom ʼ. *mukurayati, mukulayati, mukulāyatē .(CDIAl 10146) mukulayati ʻ *blossoms ʼ. 2. *mukurayati. 3. mukulāyatē. [mukulayati (tr.), °lāyatē (intr.) ʻ closes (like a bud) ʼ Kāv., °litá -- R., °lāyita -- Kāv. ʻ having blossoms ʼ, mukurita -- ʻ id.? ʼ Pāṇ.gaṇa. -- mukula -- ] 1. Pk. maülēi ʻ blossoms ʼ; S. morjaṇu ʻ to sprout ʼ; P. maulnā ʻ to blossom, bud ʼ; Ku. maulṇo ʻ to flourish ʼ, N. maulanu; B. maulā ʻ to blossom ʼ, H. maulnā.
2. H. maurnā ʻ to blossom ʼ, G. mɔrvũ. 3. Pk. maülāaï ʻ blossoms ʼ, N. maulāunu, H. maulānā.(CDIAL 10147)
Darada is a gold producing area
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Apparatus for the distillation of cinnabar, Alchimia, 1570
"As the most common source of mercury in nature,cinnabar has been mined for thousands of years, even as far back as the Neolithic Age.During the Roman Empire it was mined both as a pigment,[14][15] and for its mercury content.To produce liquid mercury (quicksilver), crushed cinnabar ore is roasted in rotary furnaces. Pure mercury separates from sulfur in this process and easily evaporates. A condensing column is used to collect the liquid metal, which is most often shipped in iron flasks." https://en.wikipedia.org/wiki/Cinnabar
Martín-Gil, J.; Martín-Gil, F. J.; Delibes-de-Castro, G.; Zapatero-Magdaleno, P.; Sarabia-Herrero, F. J. (1995). "The first known use of vermillion". Experientia. 51 (8): 759–761.
Vitruvius, De architectura VII; IV–V
Pliny, Natural History; XXXIII.XXXVI–XLII
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Mercury, 80Hg Mercury was found in Egyptian tombs that date from 1500 BCE "In November 2014 "large quantities" of mercury were discovered in a chamber 60 feet below the 1800-year-old pyramid nown as the "Temple of the Feathered Serpent,""the third largest pyramid of Teotihuacan," Mexico along with "jade statues, jaguar remains, a box filled with carved shells and rubber balls.". https://www.theguardian.com/world/2015/apr/24/liquid-mercury-mexican-pyramid-teotihuacan
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Terracotta toys from Mehergarh (ca. 7th millennium?) Vermilion or powdered cinnabar (sindhur) in the part of her hair. Choker and pendant necklaces are also painted with red pigment Ornaments are painted golden. Hair is painted black. Sindhu at the hair-parting is painted red, like cinnabar red.
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Hematite is a more reddish variety of iron oxide, and is the main ingredient of red ochre. When limonite is roasted, it turns partially to the more reddish hematite and becomes red ochre or burnt sienna.
"Ochre (/ˈoʊkər/ oh-kər; from Greek: ὠχρός, ōkhrós, (pale yellow, pale), also spelled ocher, see spelling differences) is a natural earth pigment containing hydrated iron oxide, which ranges in color from yellow to deep orange or brown. It is also the name of the colors produced by this pigment, especially a light brownish-yellow.A variant of ochre containing a large amount of hematite, or dehydrated iron oxide, has a reddish tint known as "red ochre". https://en.wikipedia.org/wiki/Ochre
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Trefoil hieroglyph painted red because it signifies dhāī 'strand' rebus: dhāu 'red ochre, ore of copper': 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., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV.,ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā ] 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 (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) Rebus: dhā̆vaḍ 'smelter'.
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The ritual of applying the sindoor as part of a Hindu Indian wedding
"Modern sindoor mainly uses vermilion, an orange-red pigment. Vermilion is the purified and powdered form of cinnabar, which is the chief form in which mercury sulfide naturally occurs."
https://en.wikipedia.org/wiki/Sindoor
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Cinnabar from Almaden District, Ciudad Real, Castile-La Mancha, Spain
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Cinnabar, mercury ore from Nevada, USA
" The largest natural source of mercury is cinnabar, its only known ore, and the richest deposits are found in Spain and Italy. This reddish mineral containing mercury and sulfur has been used as a pigment since prehistoric times. Cinnabar dating from 500 BC has been identified at a Mayan site in Guatemala, and prehistoric skulls painted with cinnabar have been found in Italy...In the ancient art of alchemy, mercury, sulfur, and salt were the Earth's three principle substances. The Hindu word for alchemy is "Rasasiddhi", meaning "knowledge of mercury." Believing that mercury was at the core of all metals, alchemists supposed that gold, silver, copper, tin, lead and iron were all mixtures of mercury and other substances. While alchemists in different cultures had different beliefs, one of the central themes to European alchemy was the belief that the correct combination of mercury and other ingredients would yield riches of gold...The line between alchemy and medicine was not always clear. In 2nd century China, the study of mercury centered on a search for an elixir of life to confer longevity or immortality. The prominent Chinese alchemist Ko Hung, who lived in the 4th century, believed that man is what he eats, and so by eating gold he could attain perfection. Yet, he reasoned, a true believer was likely to be poor, and so it was necessary to find a substitute for the precious metal. This, in his estimation, could be accomplished by making gold from cinnabar."![Ho Hung]()
Ko Hung, Alchemist
http://www.dartmouth.edu/~toxmetal/mercury/history.html
pārada m. ʻ quicksilver ʼ Suśr., pārata -- m. Kathās., pāra --2 m. lex. [← Ir. cf. Pers. paranda EWA ii 257]Pk. pāraya -- m. ʻ quicksilver ʼ, S. pāro m., L.awāṇ. P. pārā m., Ku.gng. pār, N. pāro, A. B. Or. pārā, OAw. pāra m., H. M. pārā m., G. pārɔ m. (CDIAL 8104) "Mercury is a chemical element with symbol Hg and atomic number 80. It is commonly known as quicksilver and was formerly named hydrargyrum (/haɪˈdrɑːrdʒərəm/). Mercury occurs in deposits throughout the world mostly as cinnabar (mercuric sulfide). A heavy, silvery d-block element, mercury is the only metallic element that is liquid at standard conditions for temperature and pressure; the only other element that is liquid under these conditions is bromine, though metals such as caesium, gallium, and rubidium melt just aboveroom temperature.The red pigment vermilion is obtained by grinding natural cinnabar or synthetic mercuric sulfide." https://en.wikipedia.org/wiki/Mercury_(element)
दर° द [p= 470,1]m. pl. N. of a people (living above Peshawar ; also called °द् Ra1jat. ) Mn. x , 44 MBh. Hariv. 6441 R. iv VarBr2S. Va1yuP. i , 45 , 118 darád f. ʻ bank, precipice, mountain ʼ lex. [√d&rcirclemacr; ?] - But perh. of non -- Aryan origin, cf. darád -- ʻ a people adjoining Kashmir ʼ Pat., darada -- MBh., dara -- ʻ name of a mountain ʼ ViṣṇuP., and dardara -- ʻ a mountain in the south ʼ MBh., Pa. daddara -- (poss. ← Drav. EWA ii 21)]
M. daraḍ f. ʻ steep acclivity or high ground, bank ʼ.(CDIAL 6191)
दर° द n. red lead Bhpr. v , 26 , 93 ; vii , 1 , 227
Daradas were a people who lived north to the Kashmir valley. Their kingdom is identified to be the Gilgit region in Kashmir along the river Sindhu or Indus. They are often spoken along with the Kambojas. The Pandava hero Arjuna had visited this country of Daradas during his northern military campaign to collect tribute forYudhishthira's Rajasuya sacrifice. Herodotus and Strabo also connect the Daradas with the gold producing area located in the west of Tibet. There is an evidence that the Daradas, in ancient times, had their colonies located inBaltistan and Leh also.
Rebus is a mlecchita vikalpa (meluhha cipher) metaphor. The metaphor uses similar sounding words to pictorially convey meaning of metalwork catalogues in Indus Script
Alchemical treatises are full of metaphors. So is Soma SamsthA in vedic tradition an alchemical metaphor. Hence, Soma Skanda as S'iva, the aSTAs'ri yupa (octagonal pillar of light and fire), an object of veneration and puja. See: Kalyanaraman, S., 2004, Indian Alchemy, soma in the Veda, Delhi, Munshiram Manoharlal.
Hanuman is the son of Anjana (antimony). Makara dhvaja is son of Hanuman
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Anjana
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Antimony
añjana ʻ anointing, ointment ʼ ĀśvŚr. [√añj ] P. añjaṇ f. ʻ collyrium ʼ; Si. an̆danā ʻ anointing, painting, putting on (clothes) ʼ.(CDIAL 170) Unguent of tutty is also called añjana One type is antimony."A lustrous gray metalloid, it is found in nature mainly as the sulfide mineral stibnite (Sb2S3). Antimony compounds have been known since ancient times and were used for cosmetics; metallic antimony was also known, but it was erroneously identified as lead upon its discovery." https://en.wikipedia.org/wiki/Antimony
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An idol of Anjani Mata having son Hanuman in her lap in the Anjani Mata temple, Choumu
"Añjanā (Tamil: Anchanai, Malay: Anjani or Anjati, Thai: Sawaha) was the mother of Hanuman, one of the heroes of the Indian epic, the Ramayana. According to one version of the story, Añjanā was an apsara named Puñjikastalā, who was born on earth as monkey princess and married Kesari, a monkey chief. Vayu, god of the wind, carried the divine power ofLord Shiva to Anjana's womb, and thus Hanuman was himself an incarnation of Lord Shiva. In Himachal Pradesh is the Goddess worshiped as family deity by several people.There is one temple dedicated to her at Masrer near Dharamsala District Kangra. " https://en.wikipedia.org/wiki/Añjanā
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Makara dhvaja, son of Hanuman (Anjaneya) kesari & suvannam,accha, brother of Macchanu
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"The Jethwa clan of Kshatriyas claim their descent from Makardhvaja. As per folk tales of their clan, Makardhvaja had a son named Mod-dhvaja and he had a son named Jethi-dhvaja.[4] Jethwas claim descant from Jethi-dhvaja and worship Hanuman as their Iṣṭa-devatā.[4] The Jethwa dynasty of Gujarat, who once ruled major part of Kathiawar and later the princely state of Porbandar, therefore, had the image of Hanuman on their Royal flag.[4][5][6]
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"Story of Lord Hanuman and Suvannamaccha, the golden mermaid or golden fish. Suvarnamatsya is the equivalent word in Sanskrit. The story of Suvarnamatsya is not found in Valmiki Ramayana. It appears in the Cambodian and Thai versions of Ramayana. Suvarnamatsya was a daughter of Ravana. She was half fish and half human in her body. "
http://www.hindudevotionalblog.com/2014/03/story-suvannamaccha-golden-mermaid.html
"Story of Makaradhvaja, son of Hanuman. According to Hinduism, Makaradhvaja is the son of Lord Hanuman. Makardhvaja makes his first appearance in epic Ramayana. The story of Makardhvaja and Hanuman has several versions...Makaradhvaja claimed that he was the son of Hanuman. Hanuman was amused at this and said that he himself was Hanuman, but he could not be his son, as he was born celibate. A duel between Hanuman and Makaradhvaja took place. Hanuman defeated Makaradhvaja in the duel and proceeded further. Finally, Hanuman killed Ahiravana and rescued Srirama and Lakshmana.
Later, on the advice of Srirama, Hanuman installed Makaradhvaja, as the King of Patala and all the three returned to Lanka, to continue the war with Ravana."
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http://www.hindudevotionalblog.com/2013/09/story-makaradhwaja-son-of-hanuman.html
"Macchanu (Thai: มัจฉานุ; rtgs: Matchanu) is son of Hanuman as per that appears in the Cambodian, Thai and other versions of the Ramayana....As per these versions of Ramayana, during one of the battles with Ravana's army, Hanuman encounters one powerful opponent, who looked like vanara from waist-up but had tail of a fish. After a fierce battle, as Hanuman was about to hit the creature with his weapons, a golden star shining in the sky above, reveals by way ofaakashwani that the enemy, whom he is going to harm is his own son born by his union with Suvannamaccha, the mermaid daughter of Ravana. Hanuman, immediately holds his weapons in mid-air and father-son duo recognize each other"
https://en.wikipedia.org/wiki/Macchanu
Boiling gold in gold mercury amalgam (kajjali) to yi9eld swarna sindhur
See also: https://www.youtube.com/watch?v=Pe0AhvZLgLk (1:41:11) Alchemie, Rasa S'Astra.
Mahabharata has a flag bearing Hanuman atop Arjuna's chariot with Krishna as charioteer. Hanuman is the metaphor which appears in the two Great Epics: Ramayana and Mahabharata.
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Sundara Kāṇḍa in sculpture. Hanuman finds Sita. Charcoal rubbing from a carved stone relief at Angkor Wat http://bharatkalyan97.blogspot.in/2016/07/rama-personifiedf-dharma-evidences-for.html
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Trefoil inlay decorated on a bull calf. Uruk (W.16017) ca. 3000 BCE. kõdā 'young bull calf' Rebus: kõdā 'turner-joiner' (forge),
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Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period, dating after 1900 BC. Credit Harappa.com![]()
Stone base for Sivalinga.Tre-foil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35; Parpola, 1994, p. 218.![]()
Two decorated bases and a lingam, Mohenjodaro.
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Garland bearing Yaksha. Amaravathi stupa.![garland bearers]()
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WPah.kṭg. (kc.) sɔ́ṅgi m. ʻ friend ʼ, kṭg. sɔ́ṅgəṇ, kc. sɔṅgiṇ f., J. saṅgī, saṅgu m. (prob. ← H. Him.I 212).(CDIAL 13084) 12842 sáṁkhyāti (*saṁkśāti) ʻ reckons ʼ ŚBr. (samakhyata ʻ appeared ʼ RV., sáṁkhyāpayati ʻ causes to be observed ʼ TS.). [Derivation of RV. khyā -- < kśā -- (Indo -- ir., cf. esp. ásaṁkhyāta -- AV. = Av.ahaͅxšta -- ) preserved in MaitrS. and Kāṭh. (EWA i 313 with lit.) is supported by Aś.gir. sachāya = shah. saṁkhaya, the development of kś > khy and cch being parallel with that of kṣ > kkh and c̣c̣h (NW.),cch (SW.). -- √khyā ] Pa. saṅkhāti, saṅkhāyati ʻ reckons, appears ʼ; Aś. shah. saṁkhaya, kāl. saṁkhaye, gir. sachāya (< *saṁkśāya Hultzsch As 26 n. 6) ʻ having regard to ʼ; Pk. saṁkhāi ʻ counts, knows ʼ, absol. saṁkhāya, caus. pp. saṁkhāviya -- , (orig. NW.?) saṁghaï, sagghaï ʻ says ʼ (J. Bloch BSL xxxi 62 < IE. *sengw h -- , Gk. o)mfh/ &c.); Kal.rumb. saṅghāˊam ʻ I hear ʼ (→ Kt. seṅā -- ); Or. sāṅgibā ʻ to tell, speak ʼ; M. sã̄gṇẽʻ to declare, bid ʼ, sã̄g m. ʻ order ʼ. -- Pk. sāhēi, °haï ʻ says, orders ʼ (Bloch loc. cit. connects with Germ. sagen) < saṁhaï ʻ says ʼ with abnormal sound -- change in a verb of ʻ saying ʼ (see ākhyāti ) <saṁghaï?
Pk. saṁhaï, sāhaï, sāhēi, saṁghaï, sagghaï ʻ says ʼ, uvasāhaï ʻ tells ʼ, saṁsāhaṇa -- n. ʻ conversation ʼ with Kal. Or. M. rather < *saṁhati, *saṅghati < IE. *senghw -- (Bloch); Pk.āsaṁghā -- f. ʻ wish ʼ formed after Sk. āśaṁsā -- .But saṁhaï, saṁghaï, sāhaï < śáṁsati
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The glyph showing the image of a crocodile issuing forth from a female with thighs drawn apart is one side of a tablet h180. Same text is repeated on both sides.
కారుమొసలి a wild crocodile or alligator (Telugu).![]()
Gharial (Gavialis gangeticus) is only a fish-eater. Gharial is one of three crocodilians (apart from the mugger crocodile and the saltwater crocodile) native to India and once inhabited all the major Himalayan glacier river systems of the Indian Subcontinent, from the Irrawaddy River in the east to the Sindhu River in the west. "They inhabit foremost flowing rivers with high sand banks that they use for basking and building nests. They usually mate in the cold season. The young hatch before the onset of the monsoon." (Whitaker, R., Members of the Gharial Multi-Task Force, Madras Crocodile Bank (2007). "The Gharial: Going Extinct Again" /Iguana 14 (1): 24–33.) http://www.ircf.org/downloads/Iguana14_1%20Gharial%20Going%20Extinct%20Again.pdf)
The average body weight of the species is from 159 to 250 kg (350 to 550 lb). Males commonly attain a total length of 3 to 5 m (9.8 to 16 ft), while females are smaller and reach a body length of up to 2.7 to 3.75 m (8.9 to 12.3 ft). http://crocodileworld.blogspot.in/2012_11_01_archive.html
In 2009, gharial occurrences were reported at Sabujdwip and Balagarh of Hooghly district; Nabadwip; Patuli-Agradwip; and Ketugram II block of Burdwan District in Ganga River, West Bengal.http://innovativeindiatours.com/conservation/
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Illustration for Blackie's Modern Cyclopedia (1899).
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Gharial crocodile at Chitwan National Park Annapurna Conservation Area. Nepal. Stretches to over 900 sq km,![]()
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As the Sanchi toraṇa declares in the centre-piece: these belong to the smithy, kole.l, 'temple' of dhoraṇi-vaThAra-dhamma (elephant-gait-spoked-wheel), architrave dharma quarter of the town of Vidisa.
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Ganga, right, the deified Ganges River, in terracotta on a door pillar from U.P., India, Pratihara, 10th century CE. Following iconographic prescription, Ganga stands on her mount, the Makara, a stylized mythological crocodile-like aquatic monster (which unfortunately has been damaged in this piece) and (likely) holds a kumbha, a full pot of water, in her hand (which too has been damaged), while an attendant holds a parasol over her. She leans in the tribhanga pose on a dwarf attendent, while a male guard (or consort?) stands nearby. The dimensions of the art-work are: height: 63 cm (25 in), width: 39 cm (15 in), depth: 26 cm (10 in). From the National Museum of India, New Delhi.
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Ganga Ma on her Makara. Charbangla temple (North), Baranagar, Dist. Murshidabad, West Bengal![Image result for lohar ancient india]()
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Celtic forge bellows replica from Museum Für Urgeschichte (Austria), V-I BCE.
Crucible being heated; below right – the bellows in action
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Woman blacksmith Gadelia Lohar gypsy
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Makara with Nagas, Wat Suthat, Bangkok, Thailand
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Ganga, right, the deified Ganges River, in terracotta on a door pillar from U.P., India, Pratihara, 10th century CE. Following iconographic prescription, Ganga stands on her mount, the Makara, a stylized mythological crocodile-like aquatic monster (which unfortunately has been damaged in this piece) and (likely) holds a kumbha, a full pot of water, in her hand (which too has been damaged), while an attendant holds a parasol over her. She leans in the tribhanga pose on a dwarf attendent, while a male guard (or consort?) stands nearby. The dimensions of the art-work are: height: 63 cm (25 in), width: 39 cm (15 in), depth: 26 cm (10 in). From the National Museum of India, New Delhi.![]()
Makara is NOT a myth. It is an abiding reality, as close to truth as any civilizational narrative can get. It is a breath-taking orthographic rendering of activities resulting in the creation by artisan and merchant guilds of shared wealth of a nation. Ganga river basin of Sarasvati Civilization resonates with metalworkers, smelters. This reality is signified by (dh)makara vāhana rebus: ध्माकारः, धमकः 'blacksmith''bellowsblower, smelter'.
This monograph establishes the abiding reality of Indus Script Cipher enshrined in (dh)makara, 'a composite animal, rebus: dhmākara, 'bellows-blower, blacksmith, smelter'. These artisans are producers of the shared wealth of a nation. Makara is a treasure of Kubera, and one of the 8 treasures called पद्मिनी. It is a recitation over (metal) weapons.
This rebus reading is confirmed by many sculptural representations of makara disgorging from its mouth, an artisan, the smelter, smith.
(dh)makara is pronounced makara in वाजसनेयि-संहिता. मकर m. a kind of sea-monster (sometimes confounded with the crocodile , shark , dolphin &c ; regarded as the emblem of काम-देव [cf. मोकर-केतन &c below] or as a symbol of the 9th अर्हत् of the present अवसर्पिणी ; represented as an ornament on gates or on head-dresses) (वाजसनेयि-संहिता); N. of the 10th sign of the zodiac (Capricornus) Su1ryas. Var. &c; an army of troops in the form of a मकर Mn. vii , 187; an ear-ring shaped like a मकर BhP. (cf. मकर-कुण्डल); one of the 9 treasures of कुबेर; one of the 8 magical treasures called पद्मिनी Ma1rkP.; a partic. magical spell recited over weapons R. (Monier-Williams) mākara माकर a. (-री f.) Belonging to the sea-monster, Makara q. v. -री N. of the seventh day in the bright half of Māgha; तन्मे रोगं च शोकं च माकरी हन्तु सप्तमी Tithyādi. -Comp. -आकरः the sea. -आसनम् a particular posture in sitting. -व्यूहः a particular form of military array.(Apte) माकर mf(ई)n. relating or belonging to a मकर or sea-monster (with आकर m. mine of मकर , the sea Nalo7d. ; with आचन n. a partic. posture in sitting Cat. ; with व्यूह m. a partic. form of military array Hariv. ; with सप्तमी f. =मकर-सप्तमी;m. pl. N. of a people VarBr2S. (Monier-Williams)
The sememe dhma dates back to the days of R̥gveda (RV V.9.5), ca. 5th millennium BCE:
Wilson: RV V.9.5 Of whom smoke-emitting, the flames intensely collect; then, when diffused in the three regions, Agni inflates himself in the firmament, like the blower of a bellows, and sharpens (his flames), as (the fire blazes from the blast) of the blower. [When diffused in the three regions: yadi_m aha trito divi upadhama_ti = tris.u stha_n.esu vya_ptah, spread in the three regions; or, tria_i stha_na_ni ati_tya, having gone beyond the three regions; a_tma_nam upa vardhayati, he blows up or enlarges himself; as the fire blazes from the blast of the blower: the text has s'is'i_te dhma_tari, he sharpens as in a blower; i.e., like the fire, which in the proximity of one blowing with a bellows, blazes up, so Agni sharpens his flames,or of himself adds to their intensity].
Griffith: RV V.9.5 Whose flames, when thou art sending forth the smoke, completely reach the mark,
When Trita in the height of heaven, like as a smelter fanneth thee, even as a smelter sharpeneth thee."Trita ("the Third") is a minor deity of the Rigveda, mentioned 41 times. He is associated with the Maruts, with Vayu and with Indra, like Indra, or as Indra's assistant, fighting Tvaṣṭr̥, Vr̥tra and Vala. He is called Āptya, meaning "son of the deity of the Apas (waters)" and a friend of Indra.…In RV 1.105, Trita fallen into a well begs aid from the gods. Sāyaṇa on 1.105 comments that this relates to three rishis, Ekata, Dvita and Trita who found a well, and Trita, drawing water, was pushed down by the other two and imprisoned, where he composed a hymn to the gods, and managed miraculously to prepare the sacrificial Soma; this is alluded to in RV 9.34.4 and described in Mahabharata 9.2095."https://en.wikipedia.org/wiki/Trita त्रित is the repository of Soma ('prepares Soma, keeper of nectar' RV ix.34.4, vi.44.23), of wealth. N. of a Vedic deity (associated with the मरुत्s , वायु , and इन्द्र ; fighting like the latter with त्रित , वृत्र , and other demons ; called आप्त्य [q.v.] , " water-deity " , and supposed to reside in the remotest regions of the world , whence [ RV. viii , 47 , 13-15 AV. ] the idea of wishing to remove calamity to त्रित , and the view of the त्रितs being the keepers of nectar [ RV. vi , 44 , 23] , similarly L. [ RV. ii , 34 , 10 TS. i TBr.i] the notion of त्रित's bestowing long life ; also conceived as an inferior deity conquering the demons by order and with the help of इन्द्र [ RV. ii ; viii , 52 , 1 ; x] ; fallen into a well he begged aid from the gods [i , 105 , 17 ; x , 8 , 7] ; as to this last myth Sa1y. on i , 105 relates that 3 ऋषिs , एकत , द्वित , and त्रित , parched with thirst , looked about and found a well , and when त्रित began to draw water , the other two , desirous of his property , pushed him down and closed up the well with a wheel ; shut up there , त्रित composed a hymn to the gods , and managed miraculously to prepare the sacrificial सोम , that he might drink it himself , or offer it to the deities and so be extricated: this is alluded to in RV. ix , 34 , 4 [cf. 32 , 2 ; 38 , 2 ; 102 , 2] and described in MBh. ix , 2095 ; also Nir. iv , 6 makes him a ऋषि , and he is the supposed author of RV. i , 105 ; viii , 36 ; ix , 33 f. and 102 ; x , 1-7 ; in epic legends [ MBh. ix , xii f.] एकत , द्वित , and त्रित are described as 3 brothers , sons of गौतम or of प्रजा-पति or ब्रह्मा ; elsewhere त्रित is one of the 12 sons of मनु चाक्षुष by नड्वला BhP. iv , 13 , 16 ; cf. त्रैतन्/अ ; Zd. Thrita (Monier-Williams)
ध्मातृ m. a blower , smelter or melter (of metal) RV v , 9 , 5; n. a contrivance for blowing or melting ib. ध्माकारः dhmākārḥ ध्माकारः A blacksmith, smith; dhamakḥ धमकः A blacksmith.(Apte)
ध्मा to breathe out , exhale RV. ii , 34 , 1: THe Maruts...Glowing like flames of fire is thr meaning rendered in Griffith; resplendentas fire is the rendering by Wilson for the expression dhamanto...
.
Griffith RV ii, 34, THE Maruts of resistless might who love the rain, resplendent, terrible like wild beasts in
their strength,Glowing like flames of fire, impetuous in career, blowing the wandering raincloud-, have disclosed
the kine.
Wilson RV ii, 34, 1The Maruts, shedders of showers, endowed with resistless might, like formidable lions, reverencing (the world) by their energies, resplendent as fires, laden with water, and blowing about the wandering cloud, give vent to its (collected) rain. [Laden with water: r.ji_s.in.ah = fr. f.ji_s.a, water; or it may mean, soma that has lost its strength: r.ji_s.a, apagata sa_rah somah].
ध्मा to kindle a fire by blowing RV. ii , 24 , 7 The kindled fire was left on the rock: Cast down with both their arms upon the rock they left the kindled fire
Wilson RV ii.24.7 Those sages, eminent for truth, having seen through the false (illusions of the asura), again pursued the main road thither, and with their hands cast against the rock the destructive fire, which, till then, was not there. [nakh s.o asti = that is not; i.e. so agnih pu_rvam tatra nakir asti, na vidyate, that fire formerly is not there, is not known; but they, of their own power, having produced the fire that was not known, or was not extant, threw it there: avidyama_nam agnim svasa_marthya_d utpa_dya tatra praciks.ipuh; this is an allusion to the dissemination of fire-worship by the an:girasas].
Griffith RV ii.24. 7 The pious ones when they had seen the falsehoods turned them back, the sages stood again uponthe lofty ways. Cast down with both their arms upon the rock they left the kindled fire, and said, No enemy is he.
नारायणोपरि पौराणिकसंदर्भाः
पुरुषसूक्तोपरि पौराणिकसंदर्भाः
पुरुषसूक्तोपरि टिप्पणी
१०.९०.६
आज्योपरि टिप्पणी
इध्मोपरि पौराणिकसंदर्भाः
इध्मोपरि टिप्पणी
वराहपुराणे १८.२५ इध्मशब्दस्य निरुक्तिः विद्यते। ध्मा - प्रपूरणे, इ - आगति। वसन्तर्तौ इध्मस्य आवश्यकता नास्ति। वसन्तः समित्, सममिति अर्थे। अनेन कारणेन प्रपूर्णनस्य आवश्यकता नास्ति।
Ka1tyS3r. A1s3vGr2. MBh. &c; N. of an आङ्गिरस GopBr. ([cf. Zd. aesma ;
Hib. adhmad.]) (Monier-Williams) idhmávant ʻ provided with fuel ʼ TBr. [idhmá -- m. ʻ fuel ʼ RV.: √
धम dhama धम a. (-मा, -मी f.) [धम् ध्माने-अच्] (Usually at the end of comp.) 1 Blowing; अग्निंधम, नाडिंधम. -2 Melting, fusing. -मः 1 The moon. -2 An epithet of Kṛiṣṇa. -3 Of Yama, the god of death. -4 Of Brahmā. धमकः dhamakḥ धमकः A blacksmith. धमधमा dhamadhamā धमधमा An onomatopoetic word expressive of the sound made by blowing with a bellows or a trumpet. धमधमाय् dhamadhamāy धमधमाय् Denom. To blaze; मे उदराग्निर्धमधमायते Nāg. 1.19,2. Māl.7.1/2. धमन dhamana धमन 1 A Blowing. -2 Cruel. -नः A kind of reed. -नम् Melting. धमनिः नी dhamaniḥ nī धमनिः नी f. 1 A reed, blow-pipe; वेणुधमन्या प्रबोध्य Vaiśvadeva. -2 A tube or canal of the human body, tubular vessel, as a vein, a nerve, &c. -3 Throat, neck. -4 A speech. -5 Turmeric. -Comp. -संतत a. emacia- ted, lank. धमनील dhamanīla धमनील a. Full veined. धमिः dhamiḥ धमिः f. The act of blowing. -Comp. -त्रम् an implement for kindling fire; see धमनी. (Apte) 6730 dhamá in cmpds. ʻ blowing ʼ Pāṇ., dhamaka -- m. ʻ blacksmith ʼ Uṇ.com. [√dham ]
Pa. dhama -- , ˚aka -- m. ʻ one who blows ʼ, Pk. dhamaga<-> m.; K. dam m. ʻ blast of furnace or oven, steam of stewing ʼ; -- Kho. Sh.(Lor.) dam ʻ breath, magical spell ʼ ← Pers. dam.
vātaṁdhama -- .6731 dhámati ʻ blows ʼ RV. [√dham ]Pa. dhamati ʻ blows, kindles ʼ, Pk. dhamaï, ˚mēi; K. damun ʻ to roar (of wind), blow up a fire ʼ; S. dhãvaṇu ʻ to blow (with bellows), beat (of pulse) ʼ; P. dhauṇā ʻ to blow (with bellows) ʼ, WPah.khaś. rudh. dhamṇū, G. dhamvũ. -- Kt. dəmō -- , Pr. -- lemo -- ʻ to winnow ʼ rather < dhmāyátē . -- Kho. (Lor.) damik ʻ to work a charm on ʼ deriv. dam ʻ charm ʼ ← Pers. rather than < *dhāmayati. -- Ext. -- kk -- or X MIA. phukk -- , phuṁk -- s.v. *phūtka -- : L. dhaũkaṇ ʻ to blow (with bellows) ʼ; P. dhauk(h)ṇā, dhaũk(h)ṇā ʻ to blow (with bellows), bellow, brawl ʼ; Ku. dhaũkṇo ʻ to blow, breathe ʼ, dhaũkalo ʻ bellows ʼ; H. dhaũknā ʻ to blow (with bellows), breathe on, pant ʼ. 6732 dhamana n. ʻ blowing with bellows ʼ lex. [√dham ]K. damun m. ʻ bellows ʼ. -- Ash. ótilde; ʻ wind ʼ (→ Pr. dumūˊ), Kt. dyīmi, Wg. útildemacr; Bashg. damu; Paš.lauṛ. dāmāˊn, kuṛ. domón, uzb. damūn ʻ rain ʼ (< ʻ *storm ʼ → Par. dhamāˊn ʻ wind ʼ IIFL i 248): these Kaf. and Dard. forms altern. < dhmāna -- ? 6733 dhamáni f. ʻ vein, nerve ʼ AV., ʻ throat, neck ʼ lex. [√dham ]Pa. dhamani -- f. ʻ vein ʼ, Pk. dhamaṇĭ̄ -- ; Kt. gəŕək -- də́mə ʻ adam's apple ʼ; Wg. damŕē̃, damə̃ŕ ʻ neck ʼ, Pr. lúmu, lümīˊ; L. dhauṇ, dhôṇ f. ʻ nape of neck ʼ, awāṇ. dhauṇ, ˚ṇī f. ʻ neck ʼ; P. dhauṇ, dhaun f. ʻ nape of neck ʼ. 6734 dhamanī f. ʻ bellows ʼ KātySm., ʻ sort of perfume ʼ Bhpr. [√dham ]Pk. dhamaṇĭ̄ -- f. ʻ bellows ʼ, S. dhãvaṇi f., H. dhaunī f., G. dhamaṇi f. (whence dhamaṇvũ ʻ to blow with bellows ʼ); -- K. daman, dat. ˚müñü f. ʻ bad smell (esp. of stale curd or other bad food) ʼ.6737 dhamyátē ʻ is blown on ʼ RV. [√dham ]L. dhammaṇ ʻ (night) to turn into dawn ʼ (< ʻ *to be kindled ʼ), dhammī, ˚mī˜ f. ʻ dawn ʼ < MIA. pp. *dhammiā sc. *rāttī.
In the processing of Soma, angīrasa or angāra is the key element, carbon, which is added as a gaseous infusion, to harden iron ore metal fusion and create steel, through the fumes of godhuma (which is caṣāla atop the aṣṭāśri 'eight-cornered' yūpa), signified in iconography as a hieroglyph: caṣāla, 'the snout of the boar'. āṅgāra आङ्गार [अङ्गाराणां समूहः अण्] A multitude of firebrands, charcoal. (Apte) अङ्गारक aṅgâra-ka coal; N. of an Asura; -karma̮anta, m. charcoal-kiln. अङ्गार áṅgâra coal; stain; planet Mars; -nikara, m. heap of coals.(Monier-Wilson) áṅgāra m. n. ʻ glowing charcoal ʼ RV., ˚aka -- lex. 2. *iṅgāra -- , iṅgāla -- m. Vāsav. com.1. Pa. aṅgāra -- m. ʻ charcoal ʼ, Pk. aṁgāra -- , ˚aya -- , aṁgāla -- , ˚aya -- m., Gy. eur. angár ʻ charcoal ʼ, wel. vaṅārm. (v -- from m. article), germ. yangar (y -- from yag, s.v. agní -- 1 ); Ash. aṅāˊ ʻ fire ʼ, Kt. aṅǻ, Gmb. aṅāˊ, Pr. anéye, Dm. aṅgar (a < ā NTS xii 130), Tir. Chilis Gau. K. nār (n < ṅ -- , not ← Psht. nār ← Ar. AO xii 184), Paš. aṅgāˊr, Shum. ã̄r (← Paš. NOGaw 59), Gaw. Kal. Kho. aṅgāˊr, Bshk. äṅgāˊr, Tor. aṅā, Mai. agār, Phal. aṅgṓr, Sh. agāˊr, ha˚m.; S. aṅaru m. ʻ charcoal ʼ (a < ā as in Dm.), L. aṅgār m., P. aṅgyār, ˚rā m., EP. ãgeār (y or e from MIA. aggi < agní -- 1 ?), WPah. bhid. aṅgāˊrõ n., pl. -- ã, Ku. aṅār (ḍaṅār id. X ḍājṇo < dahyátē ), N. aṅār, A. āṅgār, eṅgār, B. āṅgār, āṅrā, Or. aṅgāra; Bi. ãgarwāh ʻ man who cuts sugar -- cane into lengths for the mill ʼ (= pakwāh); OMth. aṁgāra, Mth. ãgor, H. ãgār, ˚rā m., G. ãgār, ˚rɔ m., M. ãgār m., Si. an̆gura. -- Wg. ãdotdot; ã̄īˊ ʻ fire ʼ (as opp. to aṅarīˊk ʻ charcoal ʼ, see aṅgāryāˊ -- ) poss. < agní -- 1 , Morgenstierne NTS xvii 226.2. Pa. iṅghāḷa -- ʻ glowing embers (?) ʼ, Pk. iṁgāra -- , iṁgāla, ˚aya -- ; K. yĕngur m. ʻ charcoal ʼ, yĕnguru m. ʻ charcoal -- burner ʼ; M. ĩgaḷ, ĩgḷā m., Ko. ĩgḷo. -- Deriv. M. ĩgḷā m. ʻ a kind of large ant ʼ, ĩgḷī f. ʻ a large black deadly scorpion ʼ.aṅgāraka -- , aṅgāri -- , aṅgāryāˊ -- ; aṅgāradhānī -- , *aṅgāravarta -- , *aṅgārasthāna -- , *aṅgr̥ṣṭha -- .Addenda: áṅgāra -- : Md. an̆guru ʻ charcoal ʼ.(CDIAL 125)
Devatā of RV i.73 is Pavamāna Soma, the R̥ṣi is āṅgirasa आङ्गिरस a. (-सी f.) Descended from or referring to Aṅgiras. -सः 1 N. of Bṛihaspati, son of Aṅgiras; अध्यापयामास पितॄन् शिशुराङ्गिरसः कविः Ms.2.151. तं भासुरं चाङ्गिरसाधिदेवं यथावदानर्च तदायुषे सः Bu. Ch.2.36. -2Descendants of Aṅgiras (pl.). -3 A parti- cular Sūkta or hymn in the Atharvaveda -4 the soul; अधमास्ये$न्तरिति सो$यास्य आङ्गिरसो$ङ्गानां हि रसः Bṛi. Up.1.3.8. -5 A Kṣatriya by will of Brahmā and by profession. -6 N. of a particular year. cf. आङ्गीरसस्त्वब्दभेदे मुनिभेदे तदीरितम् । Nm. -Comp. सत्रम् The ब्रहस्पति Satra; सत्रमाङ्गिरसं नाम ह्यासते स्वर्गकाम्यया Bhāg.1.23.3.(Apte) आङ्गिरसः, पुं, (अङ्गिरस् + अण्) वृहस्पतिः ।इत्यमरः । (यथा मनुः । २ । १५१ ।“अध्यापयामास पितॄन् शिशुराङ्गिरसः कविः ।पुत्त्रका इति होवाच ज्ञानेन परिगृह्य तान्” ॥) https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः/
अङ्गिरस् पु० अङ्गति अगि--गतौ असि इरुट् । ब्रह्मणोमानस-पुत्रे स्वनामख्याते मुनिभेदे । भारते वन० मार्क०“ब्रह्मणो मानसाः पुत्त्रा विदिताः षण्महर्षयः मरीचि-रत्र्यङ्गिसौ पुलस्त्यः पुलहः क्रतुः” इति“त्वमग्ने प्रथमोऽङ्गिरा ऋषिर्देवानामिति” श्रुतौ अग्ने-रङ्गिरस्त्वमुक्तं तत्कथा भारते वन० मार्क० ।“यदा क्रुद्वो हुतवहस्तपस्तप्तुं वनं गतः ॥ तदा चभगवानग्निः स्वयमेवाङ्गिराभवत् । सन्तापयंश्च प्रभया नाशयंस्तिमिराणि च ॥ पुराङ्गिरा महावाहो! चचार तप उत्त-मम् । आश्रमस्थो महाभागो हव्यवाहं विशेषयन् ।तथा स भूत्वा तु तदा जगत् सर्व्वं व्यकाशयत् ॥ तपश्चरं-स्तु हुतभुक् सन्तप्तस्तस्य तेजसा । भृशं ग्लानश्च तेजस्वीन स किञ्चित् प्रजज्ञिवान् ॥ अथ सञ्चिन्तयामासभगवान् हव्यवाहनः । अन्योऽग्निरिह लोकानां ब्रह्मणासंप्रकल्पितः ॥ अग्नित्व विप्रनष्ट हि तम्पमानस्य मेतपः । कथमग्निः पुनरहं भवेयमिति चिन्त्य सः ।अपश्यदग्निवल्लोकांस्तापयन्त महामुनिम् ॥ सोऽपासर्प-च्छनैर्भीतस्तमुवाच तदाङ्गिराः । शीघ्रमेव भवस्याग्निस्त्वंपुनर्लोकभावनः । विज्ञातश्चासि लोकेषु त्रिषु संस्थान-चारिषु ॥ त्वमग्निः प्रथमं सृष्टो ब्रह्मणा तिमिरापहः ।स्वस्थानं प्रतिपद्यस्व शीघ्रमेव तमोनुद! ॥ अग्निरुवाच ।नष्टकीर्त्तिरहं लोके भवान् जातो हुताशनः । भवन्त-मेव ज्ञास्यन्ति पावकं न तु मां जनाः ॥ निक्षिपाम्यह-मग्नित्वं त्वमग्निः प्रथमो भव । भविष्यामि द्वितीयोऽहंप्रजापत्यक एव च ॥ अङ्गिरा उवाच । कुरु पुण्यंप्रजासर्गं भवाग्निस्तिमिरापहः । माञ्च देव! कुरुष्वाग्ने!प्रथमं पुत्त्रमञ्जसा ॥ मार्कण्डेय उवाच । तच्छुत्वाङ्गिरसोवाक्यं तवेदास्तथाकरोत् । राजन् वृहस्पतिर्नामतस्याप्यङ्गिरसः सुतः इति” ॥तस्य च यथा अग्निपुत्त्रत्वं येन येन रूपेण च आविर्भाव-स्तथोक्तमग्निशब्दे । अग्नौ च । “शिवो भव प्राजापत्योमानुषीभ्यामङ्गिरः इति य० अङ्गिरोमिः ऋषिभिःसम्पादितत्वात् अङ्गसौष्ठवाद्वा अङ्गिरा अग्निरूपःहे अङ्गिरः! अग्निरूपेति” वेददीपः । अङ्गिरसः गोत्रा-पत्यम् शिवा० अण् । आङ्गिरसः बहुषु लुक् ।अङ्गिरसस्तद्गोत्रापत्ये ब० व० । “सर्व्वे सान्ता अदन्ताःस्युः” इत्युक्तेः पृ० सलोपे अङ्गिरशब्दोऽप्यत्र,“येनानवग्वे अङ्गिरे” इति वेदः । मन्वत्रिविष्णुहारीतयाज्ञवल्क्योशनोऽङ्गिरा इति याज्ञ्य० “एवं त्यक्त्वा शरीरंतु परमे तपसि स्थितः । भृग्वङ्गिरादिभिर्भूयस्तप-साप्यायितस्तदेति” भार० ।आङ्गिरस पुंस्त्री० अङ्गिरसोऽपत्यम् अण् । १ अङ्गिरसऋषेरपत्ये “अध्यापयामास पितॄन् शिशुराङ्गिरसः कविः”मनुः । बहुत्वेऽणो लुक् । अङ्गिरसः स्त्रियां न लुक् ङीप् ।“आथर्वणीराङ्गिरसीर्दैवोर्मनुष्यजाउत” अथ० ८, ५, ९ ।२ वृहस्पतौ तस्य तदपत्यत्वम् भा० आ० प० ६६ अ० ।“अङ्गिरसस्त्रयः पुत्राः लोके सर्व्वत्र विश्रुताः ।वृहस्पतिरुतथ्यश्च संवर्त्तश्च धृतव्रतः” । अङ्गिरसा दृष्टम्अण् । अथर्ववेदोक्ते ३ सूक्तभेदे “अर्थर्घ्वाङ्गिरसं नीलरुद्रंदेव्यपराजिता । मधु सूक्तं रौधसञ्च शान्तिकाध्यायमेवच । अथर्व्वाणौ द्वारपालौ पठेतामुत्तराश्रितौ” दानपारि०पुरा० । तच्च सूक्तं अथर्वसंह्रितायां १८, १, ५८, ५९, ६०,६१ मन्त्र चतुष्कात्मकम्, “अङ्गिरसौ नः पितरः” इत्या-दिकम् । तच्च तुलादानादिपद्धतौ अस्माभिः १८५ पृ०दर्शितम् अङ्गिनामङ्गानां रसः सारः स्वार्थे अण् ।४ आत्मनि । “सोऽयास्य आङ्गिरसोऽङ्गानां हि रसः” इतिवृ० उ० । “आङ्गिरस आत्मा कार्य्यकरणानाम् कथमा-ङ्गिरसः! । प्रसिद्धं हि यदङ्गिनामङ्गानां रसत्वं तदपाये-शोषप्राप्तेरिति वक्ष्यामः यस्माच्चायमङ्गिरसत्वात् विशेषा-नाश्रयत्वाच्च कार्य्यकरणानां साधारण आत्मा विशुद्धश्चतस्माद् वागादीनपास्य प्राण एवात्मत्वेनांश्रयितव्य इतिवाक्यार्थः” श० भा० ।
- आङ्गिरसेश्वर पु० आङ्गिरसेन प्रतिष्ठितः ईश्वरः । काशी-क्षेत्रस्थे आङ्गिरसप्रतिष्ठिते शिवलिङ्गभेदे ।अङ्गिरस्वत् पु० अङ्गिरा अग्निः सहायत्वेन विद्यतेऽस्य मतुप्मस्य वः सान्तत्वात् न पदत्वम् । वायौ “यमाय त्वाङ्गिर-स्वते पितृमाते स्वाहेति” यजुः । “अङ्गिरोयुक्ताय वाता-येति” वेददीपः ।https://sa.wikisource.org/wiki/वाचस्पत्यम्/
RV ix, 73
9.073.01 (The streams) of the dripping effused (Soma) sound together on the jaw (of the sacrifice), the Soma-juices flow together to the place of sacrifice. The powerful (Soma) has made the three exalted worlds for the use (of men and gods); the ships of the truthful (Soma) satisfy the pious worshipper. [On the jaw of the sacrifice: srave = the plank of the Soma press, adhis.avan.a phalaka, which is the jaw of the sacrifice; the ships: i.e., the four pots for the a_ditya, a_grayan.a, ukthya and dhruva libations.
9.073.02 The mighty (priests) assembled together send forth (the Soma) together; desirous (of heaven) they drive it to the wave of the river; generating praise they nourish the previous body of Indra with the streams of the exhilarating Soma.
9.073.03 (The rays of the Soma) having the means of purification sit round the voice (of the firmament), their ancient father protects their (light-giving) work; Soma the all-developer has overspread the mighty firmament (with them); the skilful (priests) are able to conduct (the Soma) to the all-sustaining (waters). [The voice of the firmament: va_cam = voice of the firmament (or middle world) residing in the Soma; 'Soma stand in the firmament; the King Soma sit among the gandharvas'' (somo vai ra_ja_ gandharves.va_si_t) (Aitareya Bra_hman.a). The voice of the firmament is thunder, and the rays of the Soma refer to the moon or the Soma juices identified with the rain].
9.073.04 (The Soma rays) in the firmament of a thousand streams (unite with the earth) below; in the summit of heaven, sweet-tongued, in separate drops, his rays, swiftly moving, never shut their eyes; fixed each in his place, they are the molesters (of sinners). [His rays: spas'ah = sa_rabhu_ta_ ras'mayah; or, spies; never shut their eyes: 'but always keep watch to know the evil and the good, or always keep on alert as kings to guard against enemies; fixed each in his place: 'in every place there are barriers strewn with snares (to keep off and catch the wicked or the ra_ks.asas), or, prisons filled with fetters].
9.073.05 (The rays) which were manifested in heaven and earth, illumined by the hymn (of praise), consuming the impious (sacrificers), drive away by their wisdom from earth and heaven the black-skinned (ra_ks.asas) hated by Indra.
9.073.06 (The rays) which regulating praise and purposing rapidity of action, were manifested from the ancient firmament, them the blind and deaf avoid; the wicked traverse not the path of truth. [The blind and deaf: i.e., spiritually blind and deaf, those who do not see good objects-- those who do not hear the praise of the gods].
9.073.07 The intelligent sages extol the voice (of the firmament) in the purifying extended (Soma) with its thousand streams; the Rudras are their servants, swift-moving, inviolable, revered, of goodly aspect, the beholders of men. [Their servants: spas'ah = va_ca_ vas'inah (obedient voices)].
9.073.08 (Soma) the protector of the sacrifice, the doer of good deeds cannot be resisted; he places in his heart the three purifiers; he the all-wise looks over all worlds; he censures those who are hostile in action, who sacrifice not. [He places in his heart: i.e., combines in himself; the three purifiers are agni, va_yu and the sun].
9.073.09 The threads of the sacrifice spread over the filter extends by its act to the tip of Varun.a's tongue; the wise approaching reached it;but he who is incompetent for the rite sinks (to hell) even in this world. [Varun.a's tongue: i.e., the vasati_vari_ waters, which are on the tip of Varun.a's tongue; the wise...reached it: 'it' refers to the tip of Varun.a's tongue; the wise reach it by their praises or oblations.
Griffith translation RV 9.73)
Soma Pavamana. 73
1. THEY from the spouting drop have sounded at the rim: naves speed together to the place of sacrifice.
That Asura hath formed, to seize, three lofty heights. The ships of truth have borne the pious man across.
2 The strong Steers, gathering, have duly stirred themselvesand, over the streams' wave the friends sent forth the song.
Engendering the hymn, with flowing streams of meath, Indras' dear body have they caused to wax in strength.
3 With sanctifying gear they sit around the song: their ancient Father guards their holy work from harm.
Varuna hath overspread the mighty sea of air. Sages had power to hold him in sustaining floods.
4 Sweettongued-, exhaustless, they have sent their voices down togetlier, in heavens' vault that pours a thousand streams.
His wildlyrestless- warders never close an eye: in every place are found the bonds that bind man last.
5 Over Sire and Mother they have roared in unison bright with the verse of praise, burning up riteless men,
Blowing away with supernatural might from earth and from the heavens the swarthy skin which Indra hates.
6 Those which, as guides of song and counsellors of speed, were manifested from their ancient dwelling place,
From these the eyeless and the deaf have turned aside: the wicked travel not the pathway of the Law.
7 What time the filter with a thousand streams is stretched, the thoughtful sages purify their song therein. Brightcoloured- are their spies, vigorous, void of guile, excellent, fair to see, beholders of mankind.
8 Guardian of Law, most wise, he may not be deceived: three Purifiers hath he set within his heart.
With wisdom he beholds all creatures that exist: he drives into the pit the hated riteliess ones.
9 The thread of sacrifice spun in the cleansing sieve, on Varunas' tonguetip-, by supernatural might,
This, by their striving, have the prudent ones attained: he who hath not this power shall sink into the pit.
ध्म mfn. blowing , a blower (cf. तूण- , शङ्क-).
ध्मा or धम् cl.1 P. ध्/अमति (A1. °ते Up. MBh. ; p. ध्मान्तस् = धमन्तस् BhP. x , 12 , 7 ; perf. दध्मौ ,3. pl. A1. °मिरेMBh. ; aor. अध्मासीत् Ka1v. ; Prec. ध्मायात् or ध्मेयात् Gr. ; fut. धमिष्यति MBh. ; ध्मास्यति,ध्माता Gr. ; ind.p. -ध्म्/आय Br. ) to blow (either intrans. as wind [applied also to the bubbling सोम RV. ix , 73] or trans. as, to blow a conch-shell or any wind instrument) RV. &c ; to blow into (loc.) MBh. l , 813 ; to breathe out , exhale RV. ii , 34 , 1 MBh. xiv , 1732 ; to kindle a fire by blowing RV. ii , 24 , 7 MBh. ii , 2483 ; to melt or manufacture (metal) by blowing RV. &c ; to blow or cast away MBh. v , 7209 : Pass. धम्यते , ep. also °ति , ध्माय्/अते , °ति ( S3Br. MBh. ) to be blown&c : Caus. ध्मापयति MBh. (aor. अदिध्मपत् Gr. ; Pass. ध्माप्यते MBh. ) to cause to blow or melt ; to consume by fire , reduce to cinder MBh. Sus3r. : Desid. दिध्नासति Gr.:
Intens. देध्मीयते Pa1n2. 7-4 , 31 ; दाध्मायते , p. °यमान being violently blown (conch-shell) BhP. i , 11 , 2. [cf. Slav. dumo " smoke "]; m. (?) blowing. (Monier-Williams) ध्मा dhmā ध्मा 1 P. (धमति, ध्मात; Caus. ध्मापयति) 1 To blow, breathe out, exhale. -2 To blow (as a wind-instru- ment), produce sound by blowing; शङ्खं दध्मौ प्रतापवान् Bg.1.12,18; R.7.63; Bk.3.34;17.7. -3 To blow a fire, excite fire by blowing, excite sparks; को धमेच्छान्तं च पावकम् Mb. -4 To manufacture by blowing. -5 To cast, blow, or throw away.(Apte)
ध्माकारः dhmākārḥ ध्माकारः A blacksmith, smith.(Apte)
ध्मात mfn. blown , blown up or into RV. &c; inflamed , excited;n. a partic. wrong pronunciation of vowels (पतञ्जलि)(Monier-Williams) ध्मात dhmāta ध्मात p. p. [ध्मा-क्त] 1 Blown (as a wind-instrument). ध्माता गिरेर्धातवः Bh. -2 Blown up or into, inflamed, blown, fanned, excited. -3 Inflated, puffed, puffed up.(Apte)
ध्मातृ m. a blower , smelter or melter (of metal) RV. v , 9 , 5; n. a contrivance for blowing or melting ib.
ध्मान n. blowing , puffing , swelling Sus3r. (Monier-Williams) ध्मानम् dhmānam ध्मानम् Blowing. (Apte)
ध्मापन (Caus. of √ धम्) n. the act of reducing to (powder , &c ) or any contrivance for it Car. (Monier-Williams) ध्मापनम् dhmāpanam ध्मापनम् Inflating, swelling by blowing into.(Apte)
ध्मा° पित mfn. reduced to ashes , burnt to a cinder (क्षौम) Sus3r. (Monier-Williams) ध्मापित dhmāpita ध्मापित a. Reduced to ashes, burnt to cinder.(Apte)
ध्मायत् mf(अन्ती)n. being blown , being melted &c
The following are excerps from https://sa.wikisource.org/wiki/वाचस्पत्यम्
https://sa.wikisource.org/wiki//शब्दकल्पद्रुमः on the expressions including the sememes: मकर, धमm ध्मा:
मकर पुंस्त्री० मं विषं किरति कॄ--अच् । १ जलजन्तुभेदेअमरः स्त्रियां जातित्वात् ङीष् । स च गङ्गावाहनंकामस्य ध्वजश्च । मकराकरत्वात् २ मेषादितो दशमेराशौ । तद्राशिश्च उत्तराषाढाशेषपादययसहितं श्रवणंधनिष्ठार्द्धञ्चेति नवपादात्मकः । तद्राशिस्वरूपादिकंनी० ता० उक्तं यथा “मृगश्चरः क्ष्माऽर्द्धरवो यमाशास्त्री पिङ्गरूक्षः शुभभूमिशीतः । स्वल्पप्रजासङ्गसमीर-रात्रिरादौ चतुष्पात् विषमोदयो विट् । मकि--घञ्पृषो० मकं भूषणं राति ददाति रा--क । ३ निधिभेदेनिधिशब्दे ४६८ पृ० दृश्यम् ।
मकरकुण्डल पु० मकराकृति कुण्डलं कर्णभूषणम् । मकराकारे कर्णभूषणे ।
मकरकेतन पु० मकरः मकरचिह्नितं केतनं ध्वजो यस्य ।कन्दर्पे हेमच० मकरकेत्वादयोऽप्यत्र ।
मकरध्वज पु० मकरो ध्वजोऽस्य । कामदेवे अमरः ।
धम त्रि० धम--ध्माने अच् । १ शब्दकर्त्तरि २ अग्निसंयोगकर्त्तरि च ।धमक त्रि० ध्मा--क्वुन् धमादेशश्च । ध्मानकरे उज्ज्वल० ।
धमधम पु० धम + प्रकारे द्वित्वम् । पार्वत्याः क्रोधसंभूते कुमा-रानुचरगणभेदे । “उल्कामाली धमधमो ज्वालाजिह्वःप्रमर्द्दनः” हरिवं० १६८ अ० । कुमारामुचरमातृभेदे स्त्री“ख्याता दहदहा चैव तथा धमधमा नृप!” भा० श० ४७ अ० ।
धमन त्रि० धम--ध्माने सौ० युच् । १ भस्त्राध्मायके २ क्रूरे चमेदि० ३ नले तृणभेदे अमरः ।धमनि(नी) स्त्री धम--सौ० करणे अनि वा ङीप् ।नाड़ीभेदे सिराभेदे । २ हट्टविलासिन्याम् अमरः ।३ हरिद्रायां ४ ग्रीवायाम् हेमच० ५ पृश्निपर्ण्यां राजनि० ।६ नाड़िकायां शाकभेदे भावप्र० । ७ वाक्ये निरु० । सुश्रुतेधमनीभेदकार्य्यादिकमुक्तं तच्च कायशब्दे १९१६ पृष्ठादौदृश्यम् । ततः सिध्मा० लच् । धमनील तद्युक्ते त्रि० ।
ध्मा अग्निसंयुतौ दीर्घश्वासहेतुके शब्दभेदे अक० तादृशशब्देनवादने सक०भ्वा० पर० अनिट् । धमति अध्मासीत् । दध्मौध्मातः । ध्मापयति “मुखेनैव धमेदग्निं मुखादग्निःप्रजायते” सस्कारतत्त्वम् “शङ्खान् दध्मुः पृथक् पृथक्”गीता । ध्मायते । अध्मायि । “दह्यन्ते ध्मायमानानांधातूनां हि यथा मलाः” मनुः । “वाष्वग्निभ्यां यथालौहं ध्मातं त्यजति वै मलम्” भाग० ३ । २८ । ४० ।आ--स्फीततायाम् आध्मानशब्दे दृश्यम् ।
ध्माकार पु० ध्मा--इत्यव्यक्रशब्दस्य कारः । १ (ध्मा) इति शब्दकरणे । कृ--कर्त्तरि अण् । २ लोहकारके पु० नैघण्टुप्र०
ध्मा(ध्वा)क्ष आकाङ्क्षे सक० धोररवे अक० भ्वा० पर० सेट्इदित् । ध्मा(ध्वा)ङ्क्षति । अध्मा(ध्वा)ङ्क्षीत् । दध्मा-(ध्वा)ङ्क्ष । पा० मते वोपधः ।
ध्मा(ध्वा)ङ्क्ष पुंस्त्री ध्मा(ध्वा)क्षि--अच् । १ काके २ मत्स्यभक्षकेपक्षिभेदे अमरः । ३ भिक्षुके ४ तक्षके च मेदि० ५ कक्कोलि-कायां स्त्री गौ० ङीष् ।ध्मा(ध्वा)ङ्क्षजङ्घा ध्मा(ध्वा)ङ्क्षस्येव जङ्घा अस्याः । काकज-ङ्घायाम् राजनि० ।ध्मा(ध्वा)ङ्क्षजम्बु स्त्री ध्मा(ध्वा)ङ्क्षप्रिया जम्बुः । काकजम्ब्वां राजनि० ।ध्मा(ध्वा)ङ्क्षतुण्डी ध्मा(ध्वा)ङ्क्षस्येव तुण्डमस्याः ङीष् ।काकनासालतायां राजनि० ।ध्मा(ध्वा)ङ्क्षदन्ती स्त्री ध्मा(ध्वा)ङ्क्षस्येव दन्ता अवयवोऽस्याःङीष् । काकतुण्डीलतायां राजनि० ।ध्मा(ध्वा)ङ्क्षनखी स्त्री ध्मा(ध्वा)ङ्क्षस्येव नखा अस्या ङीष् ।कतुण्ड्यां राजनि० ।ध्मा(ध्वा)ङ्क्षनाम्नी स्त्री ध्मा(ध्वा)ङ्क्षं नामयति प्रियत्वात्नामि बा० मति । काकोदम्बरिकायां राजनि० ।
ध्मा(ध्वा)ङ्क्षनाशिनी स्त्री ६ त० । हपुषायां भावप्र०ध्मा(ध्वा)ङ्क्षनासा स्त्री ध्मा(ध्वा)ङ्क्षस्येव नासा यस्याः ।काकनासिकायाम् राजनि० । वा कप् अत इत्त्वम् ध्मा(ध्वा)ङ्क्षनासिकाऽपि तत्रार्थे ।ध्मा(ध्वा)ङ्क्षपुष्ट त्रि० ३ त० । कोकिले हारा० स्त्रियां जातित्वात् ङीष् ।ध्मा(ध्वा)ङ्क्षमाची ध्मा(ध्वा)ङ्क्षमचते मच--अण् काकमा-चीवत् साध्यम् । काकमाच्यां राजनि० ।ध्मा(ध्वा)ङ्क्षवल्ली स्त्री तन्नामा वल्ली । काकनासायाम् राजनि० ।ध्मा(ध्वा)ङ्क्षादनी स्त्री काकादनीवत् साध्यम् । काकतुण्ड्यांराजनि० ।ध्मा(ध्वा)ङ्क्षाराति पु० ६ त० । पेचके हारा० । तदरिप्रभृतयोऽपि तत्रार्थे ।ध्मा(ध्वा)ङ्क्षी स्त्री जातौ ङीष् । १ काक्यां २ काकोलिकायांच मेदि० ।ध्मा(ध्वा)ङ्क्षोली स्त्री काकोलीवत् साध्यम् । काकोल्यां राजनि० ।ध्मात त्रि० ध्मा--क्त । १ संधुक्षिते श्वासभूयिष्ठतया दीर्घभावेन२ लक्ष्यमाणे वर्णे च । ३ शब्दिते ४ वादिते च ।ध्मापन न० ध्मा--णिच् भावे ल्युट् । वृंहणे शब्दार्थचि० ।ध्मापित त्रि० धमापि--क्त । वृंहिते बहुलीकृते शब्दार्थचि० ।
मकरः, पुं, (कृणातीति । क हिसांयाम् । क +अच् । ततः मनुष्याणां करः हिंसकः । यद्वा,मुखं किरतीति । मुख + कॄ + कः । उभयत्रापिपृषोदरादित्वात् साधुः । इति अमरटीकायांरघुनाथचक्रवर्त्ती ।) जलजन्तुविशेषः इत्यमरः ।१ । १० । २० ॥ (पादिनां गणान्तर्गतो जल-जन्तुविशेषः ।“कुम्भीरकूर्म्मनक्राश्च गोधामकरशङ्कवः ।घण्टिकः शिशुमारश्चेत्यादयः पादिनः स्मृताः ॥”इति भावप्रकाशस्य पूर्व्वखण्डे द्वितीये भागे ।यथास्य गुणाः ।“मत्स्यानां मकरः श्रेष्ठो दीपनो वातनाशनः ।रुचिप्रदः शुक्रकरो ग्राही चोष्णविकारहा ।मूत्राश्मरीणां शमनो गुल्मातीसारनाशनः ॥”इति हारीते प्रथमस्थान एकादशेऽध्याये ॥)मकर इति गङ्गाया वाहनत्वेन ख्यातः । इतिसारसुन्दरी । यथा । सितमकरनिषण्णां शुभ्र-वर्णां त्रिनेत्रामित्यादि स्मृत्युक्तगङ्गाध्यानम् ॥स च कामदेवस्य ध्वजचिह्नम् । मकरध्वजइत्यमरकोषदर्शनात् । मेषादिद्वादशराश्यन्त-र्गतो दशमराशिः । तत्पर्य्यायः । आकोकेरः २ ।अस्य अधिष्ठातृदेवता मृगास्यमकरः । उत्त-राषाढायाः शेषपादत्रयं श्रवणासमुदायःधनिष्ठायाः पूर्ब्बार्द्धं एतन्नवपादेन भवति । स चपृष्ठोदयः भूमिराशिः अर्द्धशब्दकरः दक्षिण-दिक्स्वामी पिङ्गलवर्णः रूक्षः भूमिचारीशीतलस्वभावः अल्पसन्तानः अल्पस्त्रीसङ्गःवातप्रकृतिः वैश्यवर्णः श्लथाङ्गश्च । अत्र जातस्यफलम् । सदानन्दः । पितृमातृभक्तः श्रवणा-मकरजातश्चेत् बहुविवाहः । इति जातका-दयः ॥ अथ, रवियुक्तमकरजातफलम् ।“सदाटनो मित्रगणो विपक्षतांप्रयाति नूनं धनवर्ज्जितः स्यात् ।यद्युष्णरश्मिर्मकरोपगः स्यात्प्रसूतिकाले स तु भाग्यहीनः ॥”अथ चन्द्रयुक्तमकरजातफलम् ।“कलितशीतभयः किल गीतवित्-तमरुषा सहितो मदनातुरः ।निजकुलोत्तमवृत्तिकरः परंहिमकरे मकरे पुरुषो भवेत् ॥”अथ मङ्गलयुक्तमकरजातफलम् ।“पराक्रमप्राप्तवरः प्रतिष्ठःसदङ्गनाप्राप्तिवराङ्गनः स्यात् ।श्रिया समेतो मकरे महीजेप्रसूतिकाले कुलपालकश्च ॥”अथ बुधग्रहस्थितमकरजातफलम् ।“रिपुभयेन युतः कुमतिर्नरःस्मरविहीननरः परकर्म्मठः ।मकरगे सति शीतकरात्मजेव्यसनतः स नतः पुरुषो भवेत् ॥”अथ गुर्व्वाश्रितमकरजातफलम् ।“न मनोरथसिद्धिमुपैति नरोवचसामधिपे मकरोपगते ।भवयुक् कुमतिः परकर्म्मरतोबहुतोषयुतो मदनापहतः ॥”अथ शुक्राश्रितमकरजातफलम् ।“अतिरतिर्जनने त्वजनने नृणांव्ययभयं कृशता बहुचिन्तया ।भृगुसुते मृगराशिगते सदाकविजने विजनेऽपि मतिर्भवेत् ॥”अथ शनिग्रहस्थितमकरजातफलम् ।“मकरोपगतः खलु भानुमुतःकृपया सहितो नृपमानयुतः ।वरगन्धविभूषणभूषितगात्र-स्तरुणीरमणः पङ्कजनेत्रः ॥”इति कोष्ठीप्रदीपः ॥(व्यूहभेदः । यथा, कामन्दकीये नीतिसा रे ।१८ । ४८ ।“यायाद्व्यूहेन महता मकरेण पुरो भये ॥”)मकरकुण्डलं, क्ली, (कुण्डलम् मकर इवेत्युप-मितसमासः ।) मकराकृतिकर्णभूषणम् । यथा,“वनमालानिवीताङ्गो लसच्छ्रीवत्सकौस्तुभः ।महाकिरीटकटकः स्फुरन्मकरकुण्डलः ॥”इति श्रीभागवते ६ स्कन्धे ४ अध्यायः ३७ श्लोकः ॥स्फुरती मकरकुण्डले यस्य सः । इति तट्टी-कायां श्रीधरस्वामी ॥ मकरकेतनः, पुं, (मकरेण चिह्नितं केतनं ध्वजोयस्य ।) कन्दर्पः । इति मीनकेतनशब्दटीकायांभरतेन सङ्केतितम् ॥मकरध्वजः, पुं, (मकरेण चिह्नितो ध्वजो यस्य ।)कामदेवः । इत्यमरः । १ । १ । २७ ॥ (यथा,माधे । ३ । ६१ ।“शरीरिणा जैत्रशरेण यत्रनिशङ्कमूषे मकरध्वजेन ॥”)रससिन्दूरविशेषः । तस्य नामान्तरं चन्द्रो-दयः । तस्य करणप्रकारो यथा, --“पलं मृदु स्वर्णदलं रसेन्द्रंपलाष्टकं षोडशगन्धकस्य ।शोणैः सुकार्पासभवप्रसूनैःसर्व्वं विमर्द्द्याथ कुमारिकाद्भिः ॥तत् काचकुम्भे निहितं सुगाढेमृत्कर्पटैस्तद्दिवसत्रयञ्च ।पचेत् क्रमाग्नौ सिकताख्ययन्त्रेततो रजः पल्लवरागरम्यम् ॥निगृह्य चैतस्य पलं पलानिचत्वारि कर्पूररजस्तथैव ।जातीफलं सोषणमिन्द्रपुष्पंकस्तूरिकाया इह शाण एकः ॥चन्द्रोदयोऽयं कथितोऽस्य माषोभुक्तोऽहिबल्लीदलमध्यवर्त्ती ॥”अस्य गुणाः ।“मदोन्मदानां प्रमदाशतानांगर्व्वाधिकत्वं श्लथयत्यकाण्डे ।शृतं घनीभूतमतीव दुग्धंमृदूनि मांसानि समण्डकानि ।मांसानि मिष्टानि भवन्ति पथ्य-मानन्ददायीन्यपराणि चात्र ॥”बलीपलितनाशनस्तनुभृतां वयस्तम्भनःसमस्तगदखण्डनः प्रचुरयोगपञ्चाननः ।गृहेषु रसराडयं भवति यस्य चन्द्रोदयःस पञ्चशरदर्पितो मृगदृशां भवेद्वल्लभः ॥”इन्द्रपुष्पं लवङ्गम् । उक्तपरिमाणलक्षणमुप-लक्षणम् । दाक्षिणात्याः शोणकार्पासपुष्पद्रव-मेव गृह्णन्ति । पाश्चात्याः निर्वृन्ततत्पुष्पेणैवयावदार्द्रत्वं मर्द्दयन्ति । उभयथैव निष्पत्तेरदोषः ।तथैवेति सर्व्वत्रान्वयः । * । शास्त्रान्तराद्बिशेषोलिख्यते ।“रतिकाले रतान्ते च पुनः सेव्यो रसोत्तमः ।स्थावरं जङ्गमविषं जङ्गमं विषवारि वा ।न विकाराय भवति साधकेन्द्रस्य वत्सरान् ॥मृत्युञ्जयो यथाभ्यासात् मृत्युं जयति देहिनः ।तथाय साधकेन्द्रस्य जरामरणनाशनः ॥”शास्त्रान्तरे मकरद्धजो नाम । इति चन्द्रोदयः ।इति रसेन्द्रचिन्तामणिः ॥
धम, ध्माने । ध्वाने । इति कविकल्पद्रुमः ॥ (भ्वां-परं-अकं-सेट् ।) धमति । सौत्रधातुरयम् ।इति दुर्गादासः ॥धमः, त्रि, (धमतीति । धम + अच् ।) अग्नि-संयोगकर्त्ता । शब्दकर्त्ता । इति धमधातोःपचादित्वादन्प्रत्ययेन साध्यः ॥धमकः, पुं, (धमतीति । ध्मा शब्दाग्निसंयोगयोः +“घ्मो धम च ।” उणां २ । ३५ । इति क्वुन्धमादेशश्च ।) कर्म्मकारः । इत्युणादिकोषः ॥धमनः, पुं, (धम्यतेऽग्निरनेनेति । धम + करणेल्युट् ।) नलः । इत्यमरः । २ । ४ । १६२ ॥(अस्य पर्य्यायो यथा, --“नलः पोटगलः शून्यमध्यश्च धमनस्तथा ॥”इति भावप्रकाशस्य पूर्ब्बखण्डे प्रथमे भागे ॥धमतीति । धम + ल्युः ।) भस्त्राध्मापके क्रूरेच त्रि । इति मेदिनी । ने, ७८ ॥धमनिः, स्त्री, (धम्यते इति । धम + “अर्त्ति-शृधृधमीति ।” उणां २ । १०३ । इति अनिः ।)धमनी । इति शब्दरत्नावली ॥ (यथा, अथ-वेदे । ६ । ९० । २ ।“यास्ते शतं धमनयोऽङ्गान्यनु विष्ठिताः ॥”प्रह्रादभ्रातुर्ह्रादस्य त्नी । सा तु वातापे-ल्वलस्य च जननी । यथा, भागवते । ६ ।१८ । १५ ।“ह्रादस्य धमनिर्भार्य्यासूत वातापिरिल्वलम् ॥”धमतिर्गतिकर्म्मा । गत्यर्था बुद्ध्यर्थाः । गम्यतेज्ञायतेऽर्थोऽनया । ज्ञायते वा विद्बद्भिः साध्व-साधुविभागेन । यद्वा, ‘धमति’ इति वधकर्म्म-स्वपि पठ्यते धमति हन्त्यनया शापाक्रोशादि-रूपयेति । वाक् । शब्दः । इति निघण्टुः ।१ । ११ ॥ यथा, ऋग्वेदे । २ । ११ । ८ ।“दूरे पारे वाणीं वर्धयन्तइन्द्रेषितां धमनिं पप्रथन्नि ॥”)धमनी, स्त्री, (धमनि + वा ङीष् ।) नाडी ।(यथा, महाभारते । १२ । २१४ । १७ ।“दश विद्यात् धमन्योऽत्र पञ्चेन्द्रियगुणावहाः ।याभिः सूक्ष्माः प्रजायन्ते धमन्योऽन्याः सह-स्रशः ॥”यथा, --“ओजोवहाः शरीरे वा विधम्यन्ते समन्ततः ।येनौजसा वर्त्तयन्ति प्रीणिताः सर्व्वदेहिनः ॥यदृते सर्व्वभूतानां जीवितं नावतिष्ठते ।यत्सारमादौ गर्भस्य यौऽसौ गर्भरसाद्रसः ॥संवर्त्तमानं हृदयं समाविशति यत् पुरा ।यस्य नाशान्न नाशोऽस्ति धारि यद्धृदयाश्रितम् ॥यच्छरीरबलं देहः प्राणा यत्र प्रतिष्ठिताः ।तत्फला विविधा वाताः फलन्तीति महाफलाः ॥ध्मानाद्धमन्यः स्रवणात् स्रोतांसि सरणात्सिराः ॥”इति चरके सूत्रस्थाने त्रिंशेऽध्याये ॥“चतुर्व्विंशतिर्धमन्यो नाभिप्रभवा अभिहिताः ।तत्र केचिदाहुः सिरा धमनी स्रोतसामविभागःसिराषिकारा एव धमन्यः स्रोतांसि चेति ।तत्तु न सम्यक् । अन्या एव हि धमन्यः स्रोतांसिच सिराभ्यः कस्याद्ब्यञ्जनान्यत्वान्मूलसन्नियमात्कर्म्मवैशेष्यादागमाच्च केवलन्तु परस्परसन्नि-कर्षात् सदृशागमकर्म्मत्वात् सौक्ष्म्याच्च विभक्त-कर्म्मणामप्यविभाग इव कर्म्मसु भवति ॥तासान्तु नाभिप्रभवानां धमनीनामूर्द्ध्वगा दश-दश चाधोगामिन्यश्चतस्रस्तिर्य्यग्गाः । ऊर्द्ध्वगाःशब्दस्पर्शरूपरसगन्धप्रश्वासोच्छ्वासजृम्भितक्षुद्ध-सितक्षुधितरुदितादीन्विशेषानभिवहन्त्यः शरीरंरयन्ति । तास्तु हृदयमभिप्रपन्नास्त्रिधाजायन्ते तास्त्रिंशत् । तासान्तु वातपित्तकफ-शोणितरसान् द्वे द्वे वहतस्ता दश शब्दरूपरस-गन्धानष्टाभिर्गृह्णीते । द्वाभ्यां भाषते च द्बाभ्यांघोषं करोति द्बाभ्यां स्वपिति द्वाभ्यां प्रतिबुध्यतेद्वे चाश्रुवाहिन्यौ । द्वे स्तन्यं स्त्रिया वहतःस्तनसंश्रिते । ते एव शुक्रं नरस्य स्तनाभ्यामभि-वहतः । तास्त्वेतास्त्रिंशत् सविभागा व्याख्याताएताभिरूर्द्ध्वं नामेरुदरपार्श्वपृष्ठोरःस्कन्धग्रीवा-बाहवो धार्य्यन्ते याप्यन्ते च ॥”“अधोगमास्तु वातमूत्रपुरीषशुक्रार्त्तवादीन्यधोवहन्ति । तास्तु पित्ताशयमभिप्रतिपन्नास्तत्रस्थ-मेवान्नपानरसं विपक्वमौष्ण्याद्विवेचयन्त्योऽभि-वहन्त्यः शरीरं तर्पयन्त्यर्पयन्ति चोर्द्ध्वगतानांतिर्य्यग्गतानां रसस्थानञ्चाभिपूरयन्ति मूत्रपुरीष-स्वेदांश्च विरेचयन्त्यामपक्वाशयान्तरे च त्रिधाजायन्ते तास्त्रिंशत् । तासान्तु वातपित्तकफ-शोणितरसान् द्बे द्वे वहतस्ता दश द्बे अन्न-वाहिन्यावन्त्राश्रिते तोयवहे द्बे मूत्रवस्तिमभि-प्रपन्ने मूत्रवहे द्वे शुक्रवहे द्बे शुक्रप्रादुर्भावायद्वे विसर्गाय ते एव रक्तमभिवहतो नारीणा-मार्त्तवसंज्ञम् । द्वेवर्च्चो निरसन्यौ स्थूलान्त्रप्रति-बद्धे । अष्टावन्यास्तिर्य्यग्गानां धमनीनां स्वेदमर्प-यन्ति । तास्त्वेतास्त्रिंशत् स विभागा व्याख्याताएताभिरधोनाभेः पक्वाशयकटीमूत्रपुरीषगुद-वस्तिमेढ्रसक्थीनि धार्य्यन्ते याप्यन्ते च ॥”“तिर्य्यग्गानान्तु चतसृणां धमनीनामेकैका शतधासहस्रधा चोत्तरोत्तरं विभन्वन्ते तास्त्वसंख्येया-स्ताभिरिदं शरीरं गवाक्षितं विबद्धमाततञ्च ।तासां मुखानि रोमकूपप्रतिबद्धानि यैः स्वेद-मभिवहन्ति रसञ्चापि सन्तर्पयन्त्यन्तर्बहिश्चतैरेव चाभ्यङ्गपरिषेकावगाहालेपनवीर्य्याण्यन्तःशरीरमभिप्रतिपद्यन्ते त्वचि विपक्वानि तैरेवस्पर्शसुखमसुखं वा गृह्णाति । तास्त्वेताश्चतस्रोधमन्यः सर्व्वाङ्गगताः सविभागा व्याख्याताः ॥”इति सुश्रुते शरीरस्थाने नवमेऽध्याये ॥ * ॥)हट्टविलासिनी । इत्यमरः ॥ हरिद्रा । ग्रीवा ।इति हेमचन्द्रः । ३ । २९५ ॥ पृश्निपर्णी । इतिराजनिर्घण्टः ॥ नलिका । इति भावप्रकाशः ॥
ध्मा, अग्नियुतौ । ध्वनौ । इति कविकल्पद्रुमः ॥(भ्वां-परं-सकं-अनिट् ।) युतिरिति वाहुल्यान्नदीर्घः । अग्नियुतिरग्निसंयोगः । ध्वनिः शब्दोत्-पत्तिहेतुभावः । धमति सुवर्णं बणिक् अग्नि-संयुक्तं करोतीत्यर्थः । धमति शङ्खं जनः सशब्दंकरोतीत्यथः । अग्निफुत्कृतौ च । मुखेनैव धमे-दग्निम् । इति दुर्गादासः ॥ध्माकारः, पुं, (ध्मा अग्निसंयोगस्तं करोतीति ।कृ + अण् ।) लोहकारकः । इति हलायुधः ॥ध्मामा, [न्] पुं, (ध्मा + “नामन्सोमन्निति ।”उणां ४ । १५० । इति मनिन्प्रत्ययेन निपा-तनात् साधुः । उज्ज्वलदत्तस्तु ध्यायतेर्मनिन्इत्युक्त्वा ध्यामन् इति शब्दमिच्छति ।) परि-माणम् । आलोकः । ध्यानम् । इति सिद्धान्त-कौमुद्यासुणादिवृत्तिः ॥
https://sa.wikisource.org/wiki//शब्दकल्पद्रुमः
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Makara on lentil from Sambor Prei Kuk temple, Kampong Thom City, Cambodia![]()
A warrior in the jaw of makara in Kiradu temple, Rajasthan. Makara is human, karA 'crocodile' signifies khAr 'blacksmith'.
Makara on lentil from Sambor Prei Kuk temple, Kampong Thom City, Cambodia
A warrior in the jaw of makara in Kiradu temple, Rajasthan. Makara is human, karA 'crocodile' signifies khAr 'blacksmith'.
The artificer emerges out of the snout of the makara. Fragment in the shape of Asura rising up from the mouth of Makara water monster, carved sandstone, 10th-11th century CE. Quang Nam province, central Vietnam. Decoration exterior of roof corner of Cham temple.
Begram ivory. Artificer emerging out of the mouths of a pair of makara with fish-fins and feline paws. A youth, a boy emerges out of the pair of makara-s. koḍa 'boy' rebus: कोंद kōnda 'young bull' rebus kō̃da कोँद a kiln (a potter's, a lime kiln, and brick-kiln, or the like); a ceramic furnace; kunda 'a treasure of Kubera'; kundaṇa 'fine gold'. kundār 'turner, engraver, scribe' कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving; کار کند kār-kund 'manager
https://tinyurl.com/yydlmsq2
A boy is shown riding the makara on two sculptural friezes, after he has emerged from the mouth of the composite animal.
A dwarf, kharva, of the gaṇa, with headband fighting a Makara. Torana of Stupa 3 in Sanchi.
Hero dwarf, kharva, of the gaṇa,with headband wrestling a Makara. Stupa 3 front architrave bottom panel right post.jpg
Makara and Kirtimukha protecting portal of Chennakesava Temple at Belur, India
Kirtimukha PLUS makara: Lakkundi, Lokki Gundi, Gadag Kāśī viśvanātha temple.
Makara Thoranam above the door of the to Garbhagriha of Chennakesava Temple at Belur. Two makaras are shown on either end of the arch.
Makara dhvaja fuses into kīrtimukha, 'glorious face', kola 'feline' rebuskolhe ‘smelter’, kol ‘working in iron’ panja 'feline paw' rebus: panja ‘kiln, furnace’ PLUS phaḍa 'cobra hood' to signify rebus phaḍa 'metals manufactory'.
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Kāla-Makara, a Kirtimukha of 9th century Javanese SailendraBorobudur portal, Indonesia
Kāla-Makara, a Kirtimukha of 9th century Javanese SailendraBorobudur portal, Indonesia
The makara sculptures which fuses with kola 'feline' rebus kol 'iron working' PLUS phaḍa 'cobra hood' to signify rebus phaḍa 'metals manufactory' adorn many temples is a hieroglyph multiplex of elephant, crocodile, fish, feline, cobra hood: ibha 'elephant' rebus: ib 'iron'; makara'composite crocodile + fish fin' rebus dhmakara 'forge-blower' dhamaka'blacksmith' karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri); aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'alloy metal' ( R̥gveda). It is a hieroglyphic celebration of metalwork as the exemplar of creativity which is the quintessence of the temple-smithy: kole.l puccha 'fish tail' Rebus: puja'worship'. xolā 'tail' Rebus: kole.l 'smithy, temple' kol 'working in iron'kolimi 'smithy, forge'.
Makara. Bantey Srei.
Flip horizontal
Lintel. Provenance: Cambodia, Kompong Thom Province, Sambor Prei Kuk S7. Style of Sambor Prei Kuk. 1st half of the 7th century.Detail showing the edge of the lintel and a Marut, god of the storm and wind. Guimet Museum, Paris.
https://commons.wikimedia.org/wiki/File:Mus%C3%A9e_Guimet_897_03.jpg On this sculptural frieze, kīrtimukha kola 'feline' panja 'feline paw' rebus panja'kiln, furnace' get embellished with phaḍa 'cobra hood' to signify rebusphaḍa 'metals manufactory'. Thus, both smelters and metal manufactories are signified in the sculptural hypertext.
An expression of this hypertext is seen on Gardez Gaṇeśa Mūrti. See:
Broad strap antarīya on Gardez Gaṇeśa Mūrti is Indus Script hypertext to signify metals manufactory of Sarasvati Civilization https://tinyurl.com/y8dyvjv8
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A tiger ligatured with cobra hoods signified on the broad strap worn by Gardez Gaṇeśa Mūrti. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' PLUS phaḍa 'cobra hood' rebus: phaḍa 'metals manufactory' PLUS paṭṭaḷe 'broad strap around the waist' rebus: phaḍa 'metals manufactory' paṭṭaḍe 'metals worshop, smithy, forge'
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Makara disgorging a lion-like creature on corner of a lintel on one of the towers) surrounding the central pyramid at Bakong, Roluos, Cambodia. On this frieze, the artisan who emerges has the features of a tiger. This signifies kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'. This is also kīrtimukha, a tradition traceable to the artifacts of masks or feline figurines of Sarasvati (Indus) Civilization.
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
Tiger or leopard figurine with incised facial features, including punctated dots on the face that could be whisker marks. This figurine depicts a normal feline without horns or human face and therefore probably represents the actual wild animal. Hand formed with applique eyes.
Material: terra cotta
Dimensions: 5.7 cm height, 11.9 cm length, 4.5 cm width
Harappa, Lot 59-17
Harappa Museum, H87-339
Dales and Kenoyer 1990: fig. 62.3, Dales and Kenoyer 1991: fig. 13.14, 1
Dimensions: 5.7 cm height, 11.9 cm length, 4.5 cm width
Harappa, Lot 59-17
Harappa Museum, H87-339
Dales and Kenoyer 1990: fig. 62.3, Dales and Kenoyer 1991: fig. 13.14, 1
Makara Disgorging a Warrior![]()
A makara disgorging human figures, frequently a warrior, is a recurring theme in the history of Cham art. An early example cornes from the reredos of the Dông Du'o'ng temple (Boisselier 1963 a : Fig. 56). We find it here some two centuries later, where the makara head accentuates the pointed and spiky features, with a row of sharp teeth continued by a row of similarly shaped foliage decorations. The makara 's elephantine nose has been made into a towering curved spike that exactly mimics the animal's huge fangs. The drapery of the garment and the pointed headgear of the warrior brandishing a weapon, place the composition in the Thu Thiên group of the Chành Lô style. Some Remarkable Cham sculptures in American Museums" Natasha Eilenberg, Robert L. Brown Article de "La Lettre de la SACHA" n°6, décember 1999, page 10. http://www.sacha-champa.org/g/en/photo.php?cat=6&subcat=5&topic_id=25 Architectural decoration. Late XIth early XIIth century Chành Lô style, Thu Thiên group. Sandstone. H. 86.4 cm. Norton Simon Art Foundation, Pasadena, CA, M1977. 20 a. S.
Makara Disgorging a Warrior
A makara disgorging human figures, frequently a warrior, is a recurring theme in the history of Cham art. An early example cornes from the reredos of the Dông Du'o'ng temple (Boisselier 1963 a : Fig. 56). We find it here some two centuries later, where the makara head accentuates the pointed and spiky features, with a row of sharp teeth continued by a row of similarly shaped foliage decorations. The makara 's elephantine nose has been made into a towering curved spike that exactly mimics the animal's huge fangs. The drapery of the garment and the pointed headgear of the warrior brandishing a weapon, place the composition in the Thu Thiên group of the Chành Lô style. Some Remarkable Cham sculptures in American Museums" Natasha Eilenberg, Robert L. Brown Article de "La Lettre de la SACHA" n°6, décember 1999, page 10. http://www.sacha-champa.org/g/en/photo.php?cat=6&subcat=5&topic_id=25 Architectural decoration. Late XIth early XIIth century Chành Lô style, Thu Thiên group. Sandstone. H. 86.4 cm. Norton Simon Art Foundation, Pasadena, CA, M1977. 20 a. S.
Cham god Nāga emerging from mouth of Makara at the National Museum of Vietnamese History. A decorative theme that originated in Java, and from there emanated to other parts of Greater India, is that of the makara sea monster disgorging some other being.
Hoysaleswara Temple wall carved with sculpture of Makara mythical animal carrying lord Varuṇa god of rain and seafarers.
This is Temple wall carved with sculpture of Makara mythical animal carrying lord Varuna god of rain. This carving is in Hoysaleswara Temple, Halebidu, Karnataka, India which was built in 12th Century by Hoysala Empire. Disgorged from the mouth of makara is a smith, artisan. makara = elephant + tiger + crocodile Rebus reading: karabha, ibha 'elephant' rebus: karba, ib 'iron' + kola 'tiger' rebus: kol 'working in iron', kolhe 'smelter' + karāvu 'crocodile' rebus: khār 'blacksmith'. Thus makara composite signifies a metalworker. Vāhana of the sacred Himalayan river Ganga 2) as the vāhana of Varuṇa, divinity of maritime activities of seafaring merchants, divinity of the oceans, of rain and 3) as a flag of Kāma?
See: Makara dhvaja is an Indus Script hypertext to signify puruṣārtha, human effort ttps://tinyurl.com/ydbsod8e
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Ganga-Yamuna. National Museum. New Delhi. Gupta period. Sarasvati is shown atop a lotus on Ellora Cave 16 temple of River Goddesses. Ganga has makara vāhana and Yamuna has kūrma vāhana. kamaṭha 'turtle' rebus: kammaṭa 'mint, coiner, coinage'. Thus, Ganga river basin shows smelters; Yamuna river basin shows mints of guilds of artisans and merchants.
![Naugarh kot iron]()
Important cultural components of the early iron Naugarh kot suggest that large-scale iron bearing deposits, showing corded ware sherds, iron artefact, slag, smelting activities continued at these sites tuyere, stone and bone artefacts, painted and incised potsherds, for a long time. stone and terracotta beads. Period II, Malhar, Dist. Chandauli.![iron arrowhead]()
Highly corroded iron arrowhead, Period I, Dadupur, Dist. Lucknow.![excavation]()
Damaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli.![iron artefacts]()
Iron artefacts, from the lower and middle levels of Period II, Malhar, Dist. Chandauli.![iron artifacts]()
Iron artefacts, from the lower and middle levels of Period II, Raja Nala-ka-tila, Dist. Sonbhadra.![table]()
![map]()
Map showing locations of the Early Iron Age sites in the Central Ganga Plain, the Eastern Vindhyas, and different regions of India. ca. 2nd m.BCE.
Ganga-Yamuna. National Museum. New Delhi. Gupta period. Sarasvati is shown atop a lotus on Ellora Cave 16 temple of River Goddesses. Ganga has makara vāhana and Yamuna has kūrma vāhana. kamaṭha 'turtle' rebus: kammaṭa 'mint, coiner, coinage'. Thus, Ganga river basin shows smelters; Yamuna river basin shows mints of guilds of artisans and merchants.
Important cultural components of the early iron Naugarh kot suggest that large-scale iron bearing deposits, showing corded ware sherds, iron artefact, slag, smelting activities continued at these sites tuyere, stone and bone artefacts, painted and incised potsherds, for a long time. stone and terracotta beads. Period II, Malhar, Dist. Chandauli.
Highly corroded iron arrowhead, Period I, Dadupur, Dist. Lucknow.
Damaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli.
Iron artefacts, from the lower and middle levels of Period II, Malhar, Dist. Chandauli.
Iron artefacts, from the lower and middle levels of Period II, Raja Nala-ka-tila, Dist. Sonbhadra.
Map showing locations of the Early Iron Age sites in the Central Ganga Plain, the Eastern Vindhyas, and different regions of India. ca. 2nd m.BCE.
Ganga on makara. Makara upholds a flaming torch, reinforcing the association with fire-altar, Soma SamsthA.
Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From Besnagar, Bhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States.
Begram ivory, 2nd cent. BCE
http://museum.wa.gov.au/museums/perth/afghanistan-hidden-treasures/exhibition-highlights
Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river
http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884
Ma Ganga, standing on the makara (crocodile/dragon thing) that is her animal vehicle. The image is at least 8 feet tall, and is located on the facade of cave 21Ellora, Maharashtra.
http://personal.carthage.edu/jlochtefeld/picturepages/ElloraHindu2011/ellora3.html
Asian Art Museum of San Francisco: Ma Ganga on Makara
Ganga on Makara.5th cent. CE. Ajanta caves.
(Ảnh: makara Ấn Độ, nguồn: Courtesy: Robert Beer
Aihole. Durga Temple. karibha, ibha 'elephant' rebus: karba,ib 'iron'. The paws of makara are feline. panja 'feline paws' rebus: panja 'kiln, furnace'. 
Varuna with Varunani. Statue carved out of basalt, dates back to 8th century CE, discovered in Karnataka. On display at the Prince of Wales museum, Mumbai.
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Monument/Object: sculpture Current Location: Indian Museum, Kolkata, West Bengal, India Subject: Varuna, on makara
Material: copper alloy; gold Scan Number: 5675 Copyright: Huntington, John C. and Susan L. Image Source: Huntington Archive
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Location: Aihole, Bagalkot Dt., Karnataka, India Site: Aihole Monument/Object: sculpture Current Location: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS, formerly Prince of Wales Museum), Mumbai, Maharastra, India Subject: Varuna and consort Photo Depicts: front Period: Calukya, Early Western
Date: ca. 8th - 9th century CE Religious Affiliation: Hindu Material: stone, gray Scan Number: 6749 Photo Date: 1970 Copyright: Huntington, John C. and Susan L. Image Source: Huntington Archive
http://dsal.uchicago.edu/images/huntington/HAfullsize/0001335_c.jpg
| Monument/Object: sculpture | |||||||||||||||||||
| Current Location: Indian Museum, Kolkata, West Bengal, India | |||||||||||||||||||
Subject: Varuna, on makara
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Kāmadeva with Rati, Flagpost with Makara as capitol
Temples dedicated to Makardhvaja can be found in India, especially in Gujarat, where Jethwas once ruled. Some noted temples in Gujarat are at
- Odadar village near Porbandar.
- Hanuman-Dandi at Bet Dwarka, where idols of Makardhvaja and Hanuman are worshiped together.[7]
- Chinchawan, Tq. Wadwani Wadwani, Dist.Beed (Maharashtra)
- MP-GWALIOR-KARAHIYA
In Rajasthan, also there is temple known as
- Balaji Makardhvaja Temple at Beawar, which is dedicated to both father-son duo in form of Balaji Hanuman and Makardhvaja." https://en.wikipedia.org/wiki/Makardhvaja.
| Capricorn | |
|---|---|
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| Zodiac symbol | Fish–Goat Hybrid (Sea Goat) |
https://en.wikipedia.org/wiki/Capricorn_(astrology)
Suvannamaccha yields the association with gold, a material for wealth. Suvannamaccha, gold fish, macchanu fish (ayo, fish' rebus: aya 'iron' ayas 'metal') and makara dhvaja are all related to metalwork processes. Makaradhvaja in Rasayana, ancient alchemical traditionsis preparedwith svarna 'gold' parada (darada 'cinnabar', 'mercury') and gandhaka 'sulfur'.
This extraordinary links with metallurgy is what makes makara an extraordinary hieroglyph to signify wealth.
makara is the Meluhha mispronunciation or phonetic variant of the underlying word dhmakara 'bellows blower'. With its gaping mouth (like the trunk of an elephant), the composite animal signifying the iconographic rendering of the blowing bellows as the iron ore and other mineral ores get smelted. Ghariyal is a Gangetic crocodile. Crocodile is also a water-mammal of the seas and tanks.
Dhmakara as a composite animal is chosen to render rebus the wealth-accounting ledger entry in Indus Script cipher: ध्माकारः, धमकः 'blacksmith'; ध्मातृ 'bellowsblower, smelter (of metal)(RV V.9.5).
I submit that the choice is driven by an Indus Script cipheer rebus reading:
Hieroglyph makara -- (dh)makara-- rebus: ध्माकारः, धमकः 'blacksmith'; ध्मातृ 'bellowsblower, smelter (of metal)(RV V.9.5). This rca invokes Agni, comparing the divine to the bellows-blower using three cognate, semantically reinforcing expressions, dhmāta,dhamati,dhmātari.
This choice of (dh)makara vāhana is made for Ganga river because, the river basin is replete with metalworkers, smiths, working with bellows, with iron ores. See: http://www.archaeologyonline.net/artifacts/iron-ore
The hieroglyphs or metaphors which adorn the toraṇa and the temple precincts are a declaration of the smithy as temple for dharma-dhamma. The semantics of the temple architecture are a re-affirmation of the message of good work, of virtuous conduct, sanatana dharma-dhamma.
The hieroglyph multiplex of crocodile, elephant, tiger, fish is celebrated as mahākara, makara and makara toraṇa as a sculptural metaphor is explained in the context of veneration of Ganga as Ma Ganga, mother Ganga. This association of the Gavialis gangeticus – gharial with River Ganga is related to the life-activity of the people of the Gangetic plain as Bharatam Janam, metalcaster folk working with iron. This has been attested archaeologically by the discovery of iron smelters and iron work at Malhar, Raja-nal-ki-tila and Lohardiwa on the Ganga River basin.
Map showing locations of the Early Iron Age sites in the Central Ganga Plain, the Eastern Vindhyas, and different regions of India.
Damaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli.This correlation explains the veneration of Ma Ganga by Bharatam Janam which finds expression in the association of makara hieroglyph complex with the life-activities in Ganga River basin of the metalcasters.
Makara as a composite animal flows from the Indus Script pictographic narratives to signify wealth of a nation.
The following glyphics of m1431 prism tablet show the association between the tiger + person on tree glyphic set and crocile + 3 animal glyphic set.
Mohenjo-daro m1431 four-sided tablet. Row of animals in file (a one-horned bull, an elephant and a rhinoceros from right); a gharial with a fish held in its jaw above the animals; a bird (?) at right. Pict-116: From R.—a person holding a vessel; a woman with a platter (?); a kneeling person with a staff in his hands facing the woman; a goat with its forelegs on a platform under a tree. [Or, two antelopes flanking a tree on a platform, with one antelope looking backwards?]
One side (m1431B) of a four-sided tablet shows a procession of a tiger, an elephant and a rhinoceros (with fishes (or perhaps, crocodile) on top?).
koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.)कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)] baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali)
ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'. Alternative: కరటి [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనుగు (Telugu) Rebus: kharādī ‘ turner’ (Gujarati) kāṇḍa 'rhimpceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. The text on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog includes the technological competence to work with minerals, metals and alloys and produce tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha alloys'. పంచలోహము pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.
Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.
m0489A One side of a prism tablet shows: crocodile + fish glyphic on the top register. Glyphs: crocodile + fish Rebus: ayakāra ‘blacksmith’ (Pali)
One innovation in orthography to combine the animals shown in one file is to create a composite animal using distinctive parts of specific animals. This is well-illustrated by Dennys Frenez and Massimo Vidale relating it to the concept of chimaera.
In this composition, in a pictorial motif of a Mohenjo-daro seal, the composite animal is composed of horns of zebu, face of a human, trunk of elephant, forelegs of a bovine, hindlegs of a feline, body of a young bull, scarves on the shoulder, cobrahood as tail, cross-hatchings on the hiond thigh.
A comparable composition is achieved in the composition of makara. The body of a crocodile, fins of fish, trunk of elephant, forepaws of a feline, hindlegs of an elephant. An example of such a composition is seen on a Bharhut medallions.
Medallion. Bharhut. Joined animal parts: fish, fish-fin, elephant trunk & legs, crocodile (All the hieroglyphs signify metalwork catalogues; see discussions in this monograph). karNa 'ear' rebus: karNI 'supercargo' dala 'leaf' rebus: dhALa 'large ingot'. See: http://www.photodharma.net/Guests/Kawasaki-Bharhut/Bharhut.htm
Ligatured elephant + crocodile glyph on Bharhut sculpture. A joined animal is sangada. Rebus: sāngada 'double-canoe, seafaring vessel'. Hence, makara as sangada is the vAhana of Ganga which was a navigable waterway. Cargo were products out of khambhaṛā 'fish fin' rebus: kammaṭa 'mint, coiner, coinage', made by karA 'crocodile' rebus: khAr 'blacksmith'; karibha 'elephant trunk' ibha 'elephant' rebus: karba, ib 'iron'. Makara is the quintessential proclamation of the life-work of artisans of the Bronze Age revolution. These artisans created the Bharhut, Sanchi stupa and other temples as monuments, celebrating their life-activities signified by these metaphors, these Indus Script hie
Makara jhasa. medda 'ram' rebus: medha 'yajna' medhA 'dhanam'. med 'iron' (Mu.Ho.) med 'copper' (Slavic) The curves tying up the central fish on śrivatsa glyph or making up the makara composition are cephalopod spirals to denote that the glyphs are maritime/riverine treaures sippi 'mollusc' rebus: sippi 'artificer'. The artificer works with metals: karibha 'trunk of elephant' ibha 'elephant' rebus: karba, ib 'iron' karA 'crocodile' rebus: khAr 'blacksmith' khambhaṛā 'fish fin' rebus: kammaTa 'mint, coiner, coinage'. Makara Bharhut, c. 100 BC Indian Museum, Calcutta Something of the origin of the makara, or at least its early composition in India, can be seen here. The water beast, confined beneath a ledge with kneeling rams that represent the realm of land, is pictured here with the snout of a crocodile, the head and forequarters of an elephant, the body of a snake, and the fins and tail of a fish. http://www.art-and-archaeology.com/india/calcutta/cm13.html
The shell component of this motif may be read as: sippi 'mollusc' rebus: sippi 'artificer' Alternative: ha_ngi snail (K.); sa~_khi possessing or made of shells (B.); ho~gi pearl oyster shell, shell of any aquatic mollusc (K.); ha_ngi snail (K.)(CDIAL 12380). gongha = snail’s shell (Santali). Cf. conch (English). Cypraea moneta or a cowrie used as a coin. Rebus: kangar ‘portable furnace’ (K.) A possible depiction of a kaula mangra ‘blacksmith’ working with s’ankha ‘shell’ and and indicaton of jhasa ‘fish’; rebus: jasa ‘prosperity, fame’.
This hypertext of Amaravati sculptural panel shows a makara attached to a leoglyph. The rebus renderings are:
kola 'tiger' rebus: kol 'working in iron' PLUS makara 'artificer, double-canoe': karā 'crocodile' rebus: khār 'blacksmith' karibha 'trunk of elephant' rebus: karba 'iron'. Thus the hypertext signifies artificers,workers in iron and smithy and seafaring merchants..
https://www.tripadvisor.in/ShowUserReviews-g298085-d454979-r637550007-Da_Nang_Museum_of_Cham_Sculpture-Da_Nang.html#photos;aggregationId=101&albumid=101&filter=7&ff=318760759
Cham sculpture at the Museum of Cham Sculpture, Da Nang, Vietnam. This artwork is in the public domain because the artist died more than 70 years ago. Photography was permitted in the museum without restriction.
Plate XXXIX. End of coping. Bharhut Stupa
roglyphs as rebus metonymy (sculptural or orthographic metaphors of a writing system).
Makara with fish-tails and emergence of a smith, ivory-carver, artificer. Plaque from Casket V. Begram. Site 2, Chamber 10. Ivory. Inv. no.: MG 1901. Makara, eagle panel. Begram. Site 2, Chamber 13. Ivory. Inv. nos.: MA 209, 210.Musee Guimet. Th winged bird emerging out of the mouths of makara: eruvai 'eagle' rebus: eruvai 'copper'. The devatā of r̥ca RV 4.26.4-7 is śyena (suparṇātmā brahma) and of r̥ca RV 4.27.1-5 is śyena, 'falcon' aśani ‘thunderbolt’ cognate śyena ‘falcon’, sena ‘thunderbolt’. The semantics of aśani ‘thunderbolt’ leads to the expression āhangar ‘blacksmith’. (Pashto. Kashmiri).
Sanchi aya 'fish' rebus: aya 'iron' ayas 'alloy metal'
Bharhut
Bharhut
Bharhut
Plate XXXVI. 10 Medallion Bharhut Stupa
Makara. Bali. Penataran Sasih temple
Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')The makara sculptures which adorn many temples is a hieroglyph multiplex of elephant, crocodile, fish: ibha 'elephant' rebus: ib 'iron'; mahākara, karā 'crocodile' Rebus: khār 'blacksmith' (Kashmiri); aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda). kola 'tiger' rebus: kol 'working in iron'. It is a hieroglyphic celebration of metalwork as the exemplar of creativity which is the quintessence of the temple-smithy: kole.l puccha 'fish tail' Rebus: puja 'worship'. xolā 'tail' Rebus: kole.l 'smithy, temple' kol 'working in iron' kolimi 'smithy, forge'. khambhaṛā 'fish-fin kammaṭa 'mint, coiner, coinage' 
Makara and merchant ship. Narrative on Borobodur sculptural frieze..
This is makara-dhvaja, fragment of the makara capital pillar (now in Allahabad Museum). Kaushambi, Uttar Pradesh. C.2nd Century BCE Shunga Dimensions: 00105 (1), 00105 (2). NM-ALH-82159 Fragment of a makara capital. The animal is damaged, but was originally endowed with only two front legs. The snout is broken; the open mouth, filled with saw teeth, is bordered by ridged lips. The eyes are bulging and have thick curling eyebrows. The finlike ears are adorned with pendants, each consisting of four strands of beads held together by a rectangular plaque. The flat modeling of the curled tail, the top and side surfaces of which meet almost at right angles, are strongly reminiscent of Bharhut sculpture of the 2nd century B.C.E. The makara probably crowned a votive column (dhvaja stambha) before a temple or site sacred to Pradyumna, one of the Pancavr̥ṣṇi-s. An image of the same period has also been discovered at Besnagar, ancient Vidisa.
"The animal is damaged, but was originally endowed with only two front legs. The snout is broken; the open mouth, filled with saw teeth, is bordered by ridged lips. The eyes are bulging and have thick curling eyebrows. The finlike ears are adorned with pendants, each consisting of four strands of beads held together by a rectangular plaque. The flat modeling of the curled tail, the top and side surfaces of which meet almost at right angles, are strongly reminiscent of Bharhut sculpture of the 2nd century B.C. The makara probably crowned a votive column (dhvaja stambha) before a temple or site sacred to Pradyumna, one of the Pancavrsnis. An image of the same period has also been discovered at Besnagar, ancient Vidisa."
http://museumsofindia.gov.in/repository/record/alh_ald-AM-SCL-59-3541
Besnagar. Makara dhvaja with makara.on capital of pillar.These two pillars with hieroglyph hypertexts in Indus Script tradition, are two proclamations of services provided by artificers at the workshops of Besnagar.
Two pillars with capitals of Besnagar (ca. 2nd cent. BCE) signify two proclamations of services offered in the city workshop complex: ayo 'fish' rebus:" aya 'metal, iron' PLUS khambhaṛā 'fin' rebus: kammaTa 'mint'; hence, ayo kammaTa 'iron mint' and kāraṇikā 'pericarp of lotus' rebus: karaṇī 'scribe, supercargo'. Supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.
Proclamation 1: kambha 'pillar' rebus: kammaṭa 'mint, coiner, coinage' as a semantic determinative. Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) kammaTa is also a Pali word with the same meaning, attested by Mahavams'a. Confirmation for this decipherment is provided by Mahaavams'a, XXV, 28, which uses an expression: ayo-kammata-dvAra, translated as "iron studded gate" (of a city), but more accurately should translate as: iron mint gate.
Proclamation 2: कर्णक kárṇaka, '
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Makara. Da Nang Museum.![]()
Sikhara of Jaina temple, Arana, Rajasthan.![]()
Ganga-Yamuna. National Museum. New Delhi. Gupta period. Sarasvati is shown atop a lotus on Ellora Cave 16 temple of River Goddesses. Ganga has makara vAhana and Yamuna has kUrma vAhana. kamaTha 'turtle' rebus: kammaTa 'mint, coiner, coinage'.![]()
Plaque with a makara, or aquatic monster (EA1971.13) Ashmolean Museum![Stair stringer with makara-headed mythical creature]( "Stair stringer with makara-headed mythical creature")
Stair stringer with makara-headed mythical creature Sikri, Khyber Pakhtunkhwa province. 2nd–3rd century CE Schist H. 7 5/16 x W. 10 1/4 x D. 1 3/4 in. (18.5 x 26 x 4.5 cm). Lahore Museum, G-218![]()
Ganga Ma on her Makara. Charbangla temple (North), Baranagar, Dist. Murshidabad, West Bengal
Makara. Da Nang Museum.
Sikhara of Jaina temple, Arana, Rajasthan.Ganga-Yamuna. National Museum. New Delhi. Gupta period. Sarasvati is shown atop a lotus on Ellora Cave 16 temple of River Goddesses. Ganga has makara vAhana and Yamuna has kUrma vAhana. kamaTha 'turtle' rebus: kammaTa 'mint, coiner, coinage'.
Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')Makara on sculptures is useed on torana, gateways of monuments. On many ancient sculptural friezes, makara yields a creeper as a decorative ornament on the temple gateway.
Some see in a makara, body parts of six or seven animals such as the trunk of the elephant, jaws of thecrocodile, ears of the mouse or ape, extruding teeth of wild swine, the tail plume of the peacock and feet of the lion. Clough, B. (1997). Sinhalese English Dictionary. Asian Educational Services. p. 163.
Hieroglyph: makara 'crocodile' rebus: mukura 'flower-bud'
Makara, Thap Mam, 13th century, Binh Dinh - Museum of Cham
.jpg)
Makara. Bantey Srei.
Rows of elephants, makara on the base of Chennakesava tempe, Beluru. karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'.
Makara, ca. 14th cent.
Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.
Makara. Khajuraho.
makara kundala on Vithoba at Pandharpur Maharashtra
Makara at Nanpaya Temple, Bagan, Burma
Makara on lintel from Sambor Prei Kuk temple, Kampong Thom City, Cambodia
Makara from Northern Qi Dynasty (CE 550-577), China![]()
Makara. Da Nang Museum.![]()
Sikhara of Jaina temple, Arana, Rajasthan.![]()
Makara on lentil from Sambor Prei Kuk temple, Kampong Thom City, Cambodia![]()
A warrior in the jaw of makara in Kiradu temple, Rajasthan. Makara is human, karA 'crocodile' signifies khAr 'blacksmith'.![]()
Plaque with a makara, or aquatic monster (EA1971.13) Ashmolean Museum![Stair stringer with makara-headed mythical creature]( "Stair stringer with makara-headed mythical creature")
Stair stringer with makara-headed mythical creature Sikri, Khyber Pakhtunkhwa province. 2nd–3rd century CE Schist H. 7 5/16 x W. 10 1/4 x D. 1 3/4 in. (18.5 x 26 x 4.5 cm). Lahore Museum, G-218![]()
Ganga Ma on her Makara. Charbangla temple (North), Baranagar, Dist. Murshidabad, West Bengal![]()
Makara. Da Nang Museum.Sikhara of Jaina temple, Arana, Rajasthan.Makara on lentil from Sambor Prei Kuk temple, Kampong Thom City, Cambodia
Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')“Makaradhvaja is a popular Kupipakwa Rasayana, prepared with the Swarna (gold), Parada (mercury) and Gandhaka (sulfur) in a specified ratio. It was first described by Rasendra Chintamani[1] by the name ofChandrodaya Rasa, although the word Makaradhvaja was first coined by Rasaratnakara. The term Makaradhvaja is composed of two words, i.e. Makara and Dhvaja. The term Makaradhvaja is also a synonymous of Kamadeva,[2] the God of beauty.” (Khedekar S, Patgiri BJ, Ravishankar B, Prajapati PK., 2011, Standard manufacturing process of Makaradhvaja prepared by Swarna Patra - Varkha and Bhasma. Ayu. 2011 Jan;32(1):109-15.) http://www.ncbi.nlm.nih.gov/pubmed?
Suvannamaccha yields the association with gold, a material for wealth. Suvannamaccha, gold fish, macchanu fish (ayo, fish' rebus: aya 'iron' ayas 'metal') and makara dhvaja are all related to metalwork processes. Makaradhvaja in Rasayana, ancient alchemical traditionsis preparedwith svarna 'gold' parada (darada 'cinnabar', 'mercury') and gandhaka 'sulfur'.
This extraordinary links with metallurgy is what makes makara an extraordinary hieroglyph to signify wealth.
Makara on sculptures is useed on torana, gateways of monuments. On many ancient sculptural friezes, makara yields a creeper as a decorative ornament on the temple gateway.
Some see in a makara, body parts of six or seven animals such as the trunk of the elephant, jaws of thecrocodile, ears of the mouse or ape, extruding teeth of wild swine, the tail plume of the peacock and feet of the lion. Clough, B. (1997). Sinhalese English Dictionary. Asian Educational Services. p. 163.
Hieroglyph: makara 'crocodile' rebus: mukura 'flower-bud' Hence the lavi
Makara and Kirtimukha protecting portal of Chennakesava Temple at Belur, India
Makara Thoranam above the door of the to Garbhagriha of Chennakesava Temple at Belur. Two makaras are shown on either end of the arch.
Ganga relief depicting the goddess atop her makara mount at Kelaniya Temple Sri Lanka
:Makara, Thap Mam, 13th century, Binh Dinh - Museum of Cham
Makara. Bantey Srei.Rows of elephants, makara on the base of Chennakesava tempe, Beluru. karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'.
Makara, ca. 14th cent.Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.
Makara. Khajuraho.
Karava Makara flag from Sri Lanka with elephant/fish head and peacock tail. Karava may be cognate kaurava of Mahabharata. Both makara and peacock are metalwork catalogues. karā 'crocodile' rebus: khār 'blacksmith' moraka 'peacock' morakkaka loha 'a form of copper'.makara kundala on Vithoba at Pandharpur Maharashtra
Makara with peacock tail at Lakuddi near Gadag, Karnataka
Makara torana. Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.
Makara at Nanpaya Temple, Bagan, Burma
Makara on lintel from Sambor Prei Kuk temple, Kampong Thom City, Cambodia
Makara from Northern Qi Dynasty (CE 550-577), China
Qi Dynasty. Glazed tile. 6th cent. 
Glazed tile, Northern Qi dynasty, 6th century
Drawing of a silver model of a shrine from the Tianfen pagoda, 13th century http://www.artwis.com/articles/the-aeoefishdragonae%C2%9D-the-makara-motif-in-chinese-art-and-architectural-decorations/4/
See: https://japanesemythology.wordpress.com/tag/crocodile-wani-sea-deities-ryugu-dragon/
The curious crocodile “wani” connection between the Watasumi sea god and Hooderi and Hoori brothers royal myth
Makara at Wat ThatPhun, Vientiane, Laos
Makara from 7th century CE at National Museum Kuala Lumpur, Malaysia
Makara and Kirtimukha at Hindu temple in Kathmandu, Nepal
Kirtimukha and Nataraja. Aihole Open Air Gallery
Makara with Nagas, Wat Suthat, Bangkok, Thailand
Makara Serpent Images at Wat Chedi Luang a Buddhist Temple in Chiang Mai
Makara 12th cent. Sandstone
Cham god Nāga emerging from mouth of Makara at the National Museum of Vietnamese History
Varuna on Makara, Halebidu.
Varuna on makara, Lakkundi, Lokki Gundi, GadagGanga on makara. Makara upholds a flaming torch, reinforcing the association with fire-altar, Soma SamsthA.Asian Art Museum of San Francisco: Ma Ganga on Makara
Begram ivory, 2nd cent. BCE
http://museum.wa.gov.au/museums/perth/afghanistan-hidden-treasures/exhibition-highlights
Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From Besnagar, Bhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States.
Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river
http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884
Ma Ganga, standing on the makara (crocodile/dragon thing) that is her animal vehicle. The image is at least 8 feet tall, and is located on the facade of cave 21Ellora, Maharashtra.
http://personal.carthage.edu/jlochtefeld/picturepages/ElloraHindu2011/ellora3.html
Ganga on Makara. Kelaniya Temple. Sri Lanka.
Asian Art Museum of San Francisco: Ma Ganga on Makara
Ganga on Makara.5th cent. CE. Ajanta caves.
Gupta era terracotta of Ma Ganga. Ahichchhatra, UP - now in the National Museum, New Delhi, India
Row of Makara in base of Chennakesava Temple at Belur, Karnataka. Note Makara standing vertical at corner.
Trimurti at the centre, Makara on top. Hoysalesvara temple, Halebidu.
14)Rare Nandi embedded in wall. Here he is shown as four handed and riding on his Vahana Makara which is somewhat unique depiction. Note emotion of Nandi displayed through scuplture. Work of genius indeed.
Makara on lentil from Sambor Prei Kuk temple, Kampong Thom City, Cambodia
http://en.wikipedia.org/wiki/File:Mus%C3%A9e_Guimet_897_03.jpg
http://en.wikipedia.org/wiki/File:Mus%C3%A9e_Guimet_897_03.jpg
Hieroglyph: makara 'composite animal' rebus: dhamá in cmpds. ʻ blowing ʼ Pāṇ., dhamaka -- m. ʻ blacksmith ʼ Uṇ.com. [√dham ]Pa. dhama -- , ˚aka -- m. ʻ one who blows ʼ, Pk. dhamaga<-> m.; K. dam m. ʻ blast of furnace or oven, steam of stewing ʼ; -- Kho. Sh.(Lor.) dam ʻ breath, magical spell ʼ ← Pers. dam. (CDIAL 6730)
1. WPah.kṭg. ḍɔggɔ m. ʻ a head of cattle ʼ, ḍɔgg
karā rebus:khār 'blacksmith' .
I submit that the breath-taking iconography is prayer by the artisan, seafaring maritime trade merchant to Varuṇa, the divinity of the ocean. The sculpture repeats the message on three segments of the stone.
To the right of Varuṇa is Viṣṇu on Garuḍa. garuḍa 'eagle' rebus: karaḍā 'hard alloy'.
karat.i, karut.i, kerut.i fencing, school or gymnasium where wrestling and fencing are taught (Ta.);garad.i, garud.i fencing school (Ka.); garad.i, garod.i (Tu.); garid.i, garid.i_ id., fencing (Te.)(DEDR 1262).
Rebus 1: करडा [ karaḍā ] Hard fromalloy--iron, silver &c. Rebus 2: khara_di_ = turner (G.)
वरुण N. of a partic. magical formula recited over weapons R. (v.l. वरण) Rebus: m. (once in the TA1r. वरुण्/अ) " All-enveloping Sky " , N. of an आदित्य (in the वेद commonly associated with मित्र [q.v.] and presiding over the night as मित्रover the day , but often celebrated separately , whereas मित्र is rarely invoked alone ; वरुण is one of the oldest of the Vedic gods , and is commonly thought to correspond to the Îá½ÏανÏÏ of the Greeks , although of a more spiritual conception ; he is often regarded as the supreme deity , being then styled " king of the gods " or " king of both gods and men " or " king of the universe " ; no other deity has such grand attributes and functions assigned to him ; he is described as fashioning and upholding heaven and earth , as possessing extraordinary power and wisdom called माया , as sending his spies or messengers throughout both worlds , as numbering the very winkings of men's eyes , as hating falsehood , as seizing transgressors with his पाश or noose , as inflicting diseases , especially dropsy , as pardoning sin , as the guardian of immortality ; he is also invoked in the वेद together with इन्द्र , and in later Vedic literature together with अग्नि , with यम , and with विष्णु ; in RV. iv , 1 , 2, he is even called the brother of अग्नि; though not generally regarded in the वेद as a god of the ocean , yet he is often connected with the waters , especially the waters of the atmosphere or firmament , and in one place [ RV. vii , 64 , 2] is called with मित्र , सिन्धु-पति , " lord of the sea or of rivers " ; hence in the later mythology he became a kind of Neptune , and is there best known in his character of god of the ocean ; in the MBh. वरुण is said to be a son of कर्दम and father of पुष्कर , and is also variously represented as one of the देव-गन्धर्वs , as a नाग , as a king of the नागs , and as an असुर ; he is the regent of the western quarter [cf. लोक-पाल] and of the नक्षत्र शतभिषज् [ VarBr2S. ] ; the जैनs consider वरुण as a servant of the twentieth अर्हत् of the present अवसर्पिणी) RV. &c &c (cf. IW.10 ; 12 &c ); the ocean; water; pl. (prob.) the gods generally AV. iii , 4 , 6 (Monier-Williams)
वरुण N. of a partic. magical formula recited over weapons R. (v.l. वरण) Rebus: m. (once in the TA1r. वरुण्/अ) " All-enveloping Sky " , N. of an आदित्य (in the वेद commonly associated with मित्र [q.v.] and presiding over the night as मित्रover the day , but often celebrated separately , whereas मित्र is rarely invoked alone ; वरुण is one of the oldest of the Vedic gods , and is commonly thought to correspond to the Îá½ÏανÏÏ of the Greeks , although of a more spiritual conception ; he is often regarded as the supreme deity , being then styled " king of the gods " or " king of both gods and men " or " king of the universe " ; no other deity has such grand attributes and functions assigned to him ; he is described as fashioning and upholding heaven and earth , as possessing extraordinary power and wisdom called माया , as sending his spies or messengers throughout both worlds , as numbering the very winkings of men's eyes , as hating falsehood , as seizing transgressors with his पाश or noose , as inflicting diseases , especially dropsy , as pardoning sin , as the guardian of immortality ; he is also invoked in the वेद together with इन्द्र , and in later Vedic literature together with अग्नि , with यम , and with विष्णु ; in RV. iv , 1 , 2, he is even called the brother of अग्नि; though not generally regarded in the वेद as a god of the ocean , yet he is often connected with the waters , especially the waters of the atmosphere or firmament , and in one place [ RV. vii , 64 , 2] is called with मित्र , सिन्धु-पति , " lord of the sea or of rivers " ; hence in the later mythology he became a kind of Neptune , and is there best known in his character of god of the ocean ; in the MBh. वरुण is said to be a son of कर्दम and father of पुष्कर , and is also variously represented as one of the देव-गन्धर्वs , as a नाग , as a king of the नागs , and as an असुर ; he is the regent of the western quarter [cf. लोक-पाल] and of the नक्षत्र शतभिषज् [ VarBr2S. ] ; the जैनs consider वरुण as a servant of the twentieth अर्हत् of the present अवसर्पिणी) RV. &c &c (cf. IW.10 ; 12 &c ); the ocean; water; pl. (prob.) the gods generally AV. iii , 4 , 6 (Monier-Williams)
Makara-Torana of Mukteshwar Deul, Bhubaneswar https://tinyurl.com/ybwm5ppb
dhmakara = makara.ध्म blowing , a blower (cf. तूण- , शङ्क-)धमक" a blower " , blacksmith (as blowing the forge) Un2. ii , 35 Sāyaṇa. Celebration of creation of wealth of the nation.
Makara sculpture, Jain Museum, Khajuraho
Makara sculptures at the Candi Kalasan Temple, Indonesia
'Head of a Makara', 13th-14th century, Museum of Cham Sculpture
A Gilt Bronze Makara Finial Tibet, 13th/14th Century The mythical creature with crocodile body elaborately cast with gaping mouth and coiled trunk, its tail rising up in a finely detailed foliate swirl, thickly cast from high copper content bronze with rich gilding, the base plate with two prongs 15½ in. (39.3 cm.) high https://www.pinterest.com/pin/308215168221862948/
nāga is emerging from the jaws of another creature, makara.Wat Prasat, Thailand
"The door jambs of the sukhanasa and garbhagriha carry across intricately carved Makara toranas on the exterior. Its has a fine figure of Lakshmi-Narayana in the centre has excellent filigree work. The Makaras at the side bear Varuna and his consort on the back." http://rsubbu-thoughts.blogspot.in/2016_03_01_archive.html
Bharhut coping from stupa, Cleveland Museum, Sunga, India, 2nd Century, B.C., Sculpture and painting- The Cleveland Museum, ACSAA
On this Bharhut frieze, the blacksmigh is shown at work.
kāraṇikā 'pericarp of lotus' rebus: karaṇī 'scribe, supercargo', kañi-āra 'helmsman' The seafaring merchants had copper metal castings of the mint as cargo
mogge 'sprout, bud' Rebus: mū̃h 'ingot' (Santali) From the flower emerges the torana. Many hieroglyphs adorn the torana. One is the hieroglyph: khambhaṛā 'fish fin' rebus: kammaTa 'mint, coiner, coinage'. atop tAmarasa 'lotus' rebus: tAmra 'copper'. The fish-fins are shown in pair: dula 'pair' rebus: dul 'metal casting'. Thus, metal castings emerging out of the work of the khAr 'blacksmith' hieroglyph: karA 'crocodile'.
Hieroglyph 1: mákara
1. Pa. makula -- m. ʻ bud ʼ, Pk. maüla -- m.n.; S. mora f. ʻ budding ʼ, morṛo m. ʻ fresh new leaf ʼ.
2. Pk. maüra -- m.n. ʻ bud ʼ; H. maur m. ʻ bud, blossom ʼ; G. mɔhɔr m. ʻ blossom ʼ.
3. MB. baula, B. bol ʻ bud, blossom of fruit tree, knob of a wooden clog ʼ; Or. baüḷa ʻ mango bud ʼ; Aw.lakh. baur ʻ mango blossom ʼ. *
2. H. maurnā ʻ to blossom ʼ, G. mɔrvũ. 3. Pk. maülāaï ʻ blossoms ʼ, N. maulāunu, H. maulānā.(CDIAL 10147)
Darada is a gold producing area
Apparatus for the distillation of cinnabar, Alchimia, 1570
"As the most common source of mercury in nature,cinnabar has been mined for thousands of years, even as far back as the Neolithic Age.During the Roman Empire it was mined both as a pigment,[14][15] and for its mercury content.To produce liquid mercury (quicksilver), crushed cinnabar ore is roasted in rotary furnaces. Pure mercury separates from sulfur in this process and easily evaporates. A condensing column is used to collect the liquid metal, which is most often shipped in iron flasks." https://en.wikipedia.org/wiki/Cinnabar
Martín-Gil, J.; Martín-Gil, F. J.; Delibes-de-Castro, G.; Zapatero-Magdaleno, P.; Sarabia-Herrero, F. J. (1995). "The first known use of vermillion". Experientia. 51 (8): 759–761.
Vitruvius, De architectura VII; IV–V
Pliny, Natural History; XXXIII.XXXVI–XLII
Mercury, 80Hg Mercury was found in Egyptian tombs that date from 1500 BCE "In November 2014 "large quantities" of mercury were discovered in a chamber 60 feet below the 1800-year-old pyramid nown as the "Temple of the Feathered Serpent,""the third largest pyramid of Teotihuacan," Mexico along with "jade statues, jaguar remains, a box filled with carved shells and rubber balls.". https://www.theguardian.com/world/2015/apr/24/liquid-mercury-mexican-pyramid-teotihuacan
Terracotta toys from Mehergarh (ca. 7th millennium?) Vermilion or powdered cinnabar (sindhur) in the part of her hair. Choker and pendant necklaces are also painted with red pigment Ornaments are painted golden. Hair is painted black. Sindhu at the hair-parting is painted red, like cinnabar red.
Hematite is a more reddish variety of iron oxide, and is the main ingredient of red ochre. When limonite is roasted, it turns partially to the more reddish hematite and becomes red ochre or burnt sienna."Ochre (/ˈoʊkər/ oh-kər; from Greek: ὠχρός, ōkhrós, (pale yellow, pale), also spelled ocher, see spelling differences) is a natural earth pigment containing hydrated iron oxide, which ranges in color from yellow to deep orange or brown. It is also the name of the colors produced by this pigment, especially a light brownish-yellow.A variant of ochre containing a large amount of hematite, or dehydrated iron oxide, has a reddish tint known as "red ochre". https://en.wikipedia.org/wiki/Ochre
Detail of terracotta bangle with red and white trefoil on a green background (H98-3516/8667-01 from Trench 43). Trefoil motifs are carved on the robe of the so-called "priest-king" statuette from Mohenjo-daro and are also known from contemporary sites in western Pakistan, Afghanistan, and southern Central Asia.
The ritual of applying the sindoor as part of a Hindu Indian wedding"Modern sindoor mainly uses vermilion, an orange-red pigment. Vermilion is the purified and powdered form of cinnabar, which is the chief form in which mercury sulfide naturally occurs."
https://en.wikipedia.org/wiki/Sindoor
Cinnabar from Almaden District, Ciudad Real, Castile-La Mancha, Spain
Cinnabar, mercury ore from Nevada, USA" The largest natural source of mercury is cinnabar, its only known ore, and the richest deposits are found in Spain and Italy. This reddish mineral containing mercury and sulfur has been used as a pigment since prehistoric times. Cinnabar dating from 500 BC has been identified at a Mayan site in Guatemala, and prehistoric skulls painted with cinnabar have been found in Italy...In the ancient art of alchemy, mercury, sulfur, and salt were the Earth's three principle substances. The Hindu word for alchemy is "Rasasiddhi", meaning "knowledge of mercury." Believing that mercury was at the core of all metals, alchemists supposed that gold, silver, copper, tin, lead and iron were all mixtures of mercury and other substances. While alchemists in different cultures had different beliefs, one of the central themes to European alchemy was the belief that the correct combination of mercury and other ingredients would yield riches of gold...The line between alchemy and medicine was not always clear. In 2nd century China, the study of mercury centered on a search for an elixir of life to confer longevity or immortality. The prominent Chinese alchemist Ko Hung, who lived in the 4th century, believed that man is what he eats, and so by eating gold he could attain perfection. Yet, he reasoned, a true believer was likely to be poor, and so it was necessary to find a substitute for the precious metal. This, in his estimation, could be accomplished by making gold from cinnabar."
Ko Hung, Alchemisthttp://www.dartmouth.edu/~toxmetal/mercury/history.html
pārada m. ʻ quicksilver ʼ Suśr., pārata -- m. Kathās., pāra --
दर° द [p= 470,1]m. pl. N. of a people (living above Peshawar ; also called °द् Ra1jat. ) Mn. x , 44 MBh. Hariv. 6441 R. iv VarBr2S. Va1yuP. i , 45 , 118 darád f. ʻ bank, precipice, mountain ʼ lex. [√
M. daraḍ f. ʻ steep acclivity or high ground, bank ʼ.(CDIAL 6191)
दर° द n. red lead Bhpr. v , 26 , 93 ; vii , 1 , 227
Daradas were a people who lived north to the Kashmir valley. Their kingdom is identified to be the Gilgit region in Kashmir along the river Sindhu or Indus. They are often spoken along with the Kambojas. The Pandava hero Arjuna had visited this country of Daradas during his northern military campaign to collect tribute forYudhishthira's Rajasuya sacrifice. Herodotus and Strabo also connect the Daradas with the gold producing area located in the west of Tibet. There is an evidence that the Daradas, in ancient times, had their colonies located inBaltistan and Leh also.
Darada king is mentioned as a Bahlika ruler in the Bahlika region in the Mahabharata.
Rebus is a mlecchita vikalpa (meluhha cipher) metaphor. The metaphor uses similar sounding words to pictorially convey meaning of metalwork catalogues in Indus Script
Alchemical treatises are full of metaphors. So is Soma SamsthA in vedic tradition an alchemical metaphor. Hence, Soma Skanda as S'iva, the aSTAs'ri yupa (octagonal pillar of light and fire), an object of veneration and puja. See: Kalyanaraman, S., 2004, Indian Alchemy, soma in the Veda, Delhi, Munshiram Manoharlal.
Hanuman is the son of Anjana (antimony). Makara dhvaja is son of Hanuman
nāˊkra m. ʻ a kind of aquatic animal ʼ VS., nakra -- 1 m. ʻ crocodile, alligator ʼ Mn. [← Drav. and poss. conn. with makara -- J. Bloch BSOS v 739] Pa. nakka -- m. ʻ crocodile ʼ, Pk. ṇakka -- m., Ku. nāko m., H. nākā m., Si. naku. -- H. nākū m. ʻ crocodile ʼ associated by pop. etym. with nāk ʻ nose ʼ < *nakka -- , cf. Ku. nakku ʻ long -- nosed ʼ.(CDIAL 7038) Ka. negar̤, negar̤e alligator. Tu. negaḷů id.; negarů a sea-animal, the vehicle of Varuṇa. Te. (B.) negaḍu a polypus or marine animal supposed to entangle swimmers. / Cf. Skt. nakra- crocodile;nākra- a kind of aquatic animal (DEDR 3732) mákara1 m. ʻ crocodile ʼ VS.Pa. makara -- m. ʻ sea -- monster ʼ; Pk. magara -- , mayara<-> m. ʻ shark ʼ, Si. muvarā, mōrā, Md. miyaru. -- NIA. forms with -- g -- (e.g. H. G. magar m. ʻ crocodile ʼ) or -- ṅg<-> (S. maṅgar -- macho m. ʻ whale ʼ, maṅguro m. ʻ a kind of sea fish ʼ → Bal. māngar ʻ crocodile ʼ) are loans from Pk. or Sk. or directly from non -- Aryan sources from which these came, e.g. Sant. maṅgaṛ ʻ crocodile ʼ(CDIAL 9692) P نهنګ nahang, s.m. (5th) A crocodile, alligator, or shark. 2. A water-dragon or other such like monster. Pl. نهنګان nahangān.(Pashto) magar 2 मगर् in magar-maʦh मगर्-मछ्&dotbelow; सामुद्रिकमत्स्यविशेषः m. a crocodile (Gr.M.). Cf. makar 1.magar 1 मगर् in magar lagun मगर् लगुन् । अत्यासक्तयानुयोगः m.inf. continually to follow a person, to dog his footsteps, to follow on the skirts (of), beset (e.g. in the hope of obtaining something, or of a thief, or some disease or calamity). -- rōzun -- रोज़ुन् । अनुप्रेरणम् m. inf., id. -- thawun -- थवुन् । अनुनियोजनम् m.inf. to set a person to follow, as ab.(Kashmiri) <moGgo>(P) {?} ``?''. Cf. <kumirO>. *Kh.<moGgor>(P) `crocodile, alligator', Sa.<maGgaR>, H.<mAgArA>, O.<mOgOrO>. %22401. #22231. <karsa mOGgO>(P),,<kaLasa mOGgO> {N} ``^chameleon [P], ^lizard [M]''. |<karsa> `??'. *$H.<gIrAgITA>. *H.<gIrAgITA>, So.<bomaG>, <gamaG>/-maG>?,<maGgar>(AB),,<moGgor>(P) {NA} ``^crocodile''. *@. ??VAR. #21081. <maGgar>(AB),,<moGgor>(P) {NA} ``^crocodile''. *@. ??VAR. #21081.<moGgor>(B),,<mogor>(B) {N} ``^crocodile''. See <muGgur>. *Des. @B21680. #23311.muGgur>(H) {N} ``^crocodile''. !{Sk.<makara>. @B21060. #23961.(Munda etyma)
Dadhivamana temple of Jagannatha, Koilo Garudadhvaja
Garudadhvaja. Jagannatha temple.
"The four hands of the God are damaged so that none of the attributes can be seen. On top, just above the crown, is an image of Yogasana Visnu with the fish and turtle avataras and Maladharadevas on either side. The pilasters flanking the god support niches with images of Brahma and Siva to his right and left respectively; and at their base are female and male attendant figures in front of whom are small seated figures of Buddha and Kalki on a horse. The offset to the right has, from top to bottom, a small figure of Varaha, a makara, a vyala motif, a large figure of Rama holding a bow, and a seated figure of Vamana. Similarly, to the gods' left, we have a mutilated image of Narasimha, and at the base the serpent hooded Balarama leaning on a club in front of whom is a seated image of Parasurama. The central projection of the pancaratha pedestal carries a male and female figure in anjalimudra at the sides." http://nmma.nic.in/nmma/antiquity_search.do?method=explore_antiquity_search&id_link_mat=22&?w=&pager.offset=2300
Mathura. pink sandstone. h. 18.5 in. Lucknow state museum. Frieze fragment with makara carved in shallow relief Hungtingon scan0004425
Architrave fragment with makara, dragon-legged composite figure, and lotus rhizome, from Mathura, Uttar Pradesh; ca. 50-20 BCE. Bluff sandstone; h. 8" x L. 2'11/2" (20 X 66 cm). Govt. Museum, Mathura; M2 Photo: American Institute of Indian Studies.
Anjana
Antimonyañjana ʻ anointing, ointment ʼ ĀśvŚr. [√
An idol of Anjani Mata having son Hanuman in her lap in the Anjani Mata temple, Choumu"Añjanā (Tamil: Anchanai, Malay: Anjani or Anjati, Thai: Sawaha) was the mother of Hanuman, one of the heroes of the Indian epic, the Ramayana. According to one version of the story, Añjanā was an apsara named Puñjikastalā, who was born on earth as monkey princess and married Kesari, a monkey chief. Vayu, god of the wind, carried the divine power ofLord Shiva to Anjana's womb, and thus Hanuman was himself an incarnation of Lord Shiva. In Himachal Pradesh is the Goddess worshiped as family deity by several people.There is one temple dedicated to her at Masrer near Dharamsala District Kangra. " https://en.wikipedia.org/wiki/Añjanā
Makara dhvaja, son of Hanuman (Anjaneya) kesari & suvannam,accha, brother of MacchanuPublished on Mar 18, 2016
Makaradhvaja is the famous Ayurvedic medicine made up of Gold Bhasma and Mercury. The particular heating sequence is the most crucial factor in preparation of Makaradhvaja. Rasashastra is the pharmaceutical specialty of Ayurveda that describes the method of pharmaceutical preparation of Makaradhvaja. The category of Makaradhvaja id Kupipakwa Rasayana . Makaradhvaja is prepared by two methods, Antardhum and Bahirdhum. Bahirdhum method is much faster, but the product obtained is sublimed hence does not contain any Gold. Whereas Antardhum method requires 72 hours of heating and product obtained contains high quality medicated gold. This medicine is very potent yet not toxic at therapeutic dose. Dr. Pranit Ambulkar (MD, PhD Ayurveda) gives brief introduction of preparation of Makaradhvaja in this video. https://www.youtube.com/watch?v=_50S-brl9Ic
"The Jethwa clan of Kshatriyas claim their descent from Makardhvaja. As per folk tales of their clan, Makardhvaja had a son named Mod-dhvaja and he had a son named Jethi-dhvaja.[4] Jethwas claim descant from Jethi-dhvaja and worship Hanuman as their Iṣṭa-devatā.[4] The Jethwa dynasty of Gujarat, who once ruled major part of Kathiawar and later the princely state of Porbandar, therefore, had the image of Hanuman on their Royal flag.[4][5][6]
Temples[edit]
Temples dedicated to Makardhvaja can be found in India, especially in Gujarat, where Jethwas once ruled. Some noted temples in Gujarat are at
- Odadar village near Porbandar.
- Hanuman-Dandi at Bet Dwarka, where idols of Makardhvaja and Hanuman are worshiped together.[7]
- Chinchawan, Tq. Wadwani Wadwani, Dist.Beed (Maharashtra)
- MP-GWALIOR-KARAHIYA
In Rajasthan, also there is temple known as
- Balaji Makardhvaja Temple at Beawar, which is dedicated to both father-son duo in form of Balaji Hanuman and Makardhvaja." https://en.wikipedia.org/wiki/Makardhvaja
"Story of Lord Hanuman and Suvannamaccha, the golden mermaid or golden fish. Suvarnamatsya is the equivalent word in Sanskrit. The story of Suvarnamatsya is not found in Valmiki Ramayana. It appears in the Cambodian and Thai versions of Ramayana. Suvarnamatsya was a daughter of Ravana. She was half fish and half human in her body. "
http://www.hindudevotionalblog.com/2014/03/story-suvannamaccha-golden-mermaid.html
"Story of Makaradhvaja, son of Hanuman. According to Hinduism, Makaradhvaja is the son of Lord Hanuman. Makardhvaja makes his first appearance in epic Ramayana. The story of Makardhvaja and Hanuman has several versions...Makaradhvaja claimed that he was the son of Hanuman. Hanuman was amused at this and said that he himself was Hanuman, but he could not be his son, as he was born celibate. A duel between Hanuman and Makaradhvaja took place. Hanuman defeated Makaradhvaja in the duel and proceeded further. Finally, Hanuman killed Ahiravana and rescued Srirama and Lakshmana.
Later, on the advice of Srirama, Hanuman installed Makaradhvaja, as the King of Patala and all the three returned to Lanka, to continue the war with Ravana."
http://www.hindudevotionalblog.com/2013/09/story-makaradhwaja-son-of-hanuman.html
"Macchanu (Thai: มัจฉานุ; rtgs: Matchanu) is son of Hanuman as per that appears in the Cambodian, Thai and other versions of the Ramayana....As per these versions of Ramayana, during one of the battles with Ravana's army, Hanuman encounters one powerful opponent, who looked like vanara from waist-up but had tail of a fish. After a fierce battle, as Hanuman was about to hit the creature with his weapons, a golden star shining in the sky above, reveals by way ofaakashwani that the enemy, whom he is going to harm is his own son born by his union with Suvannamaccha, the mermaid daughter of Ravana. Hanuman, immediately holds his weapons in mid-air and father-son duo recognize each other"
https://en.wikipedia.org/wiki/Macchanu
Boiling gold in gold mercury amalgam (kajjali) to yi9eld swarna sindhur
See also: https://www.youtube.com/watch?v=Pe0AhvZLgLk (1:41:11) Alchemie, Rasa S'Astra.
Mahabharata has a flag bearing Hanuman atop Arjuna's chariot with Krishna as charioteer. Hanuman is the metaphor which appears in the two Great Epics: Ramayana and Mahabharata.
Sundara Kāṇḍa in sculpture. Hanuman finds Sita. Charcoal rubbing from a carved stone relief at Angkor Wat http://bharatkalyan97.blogspot.in/2016/07/rama-personifiedf-dharma-evidences-for.htmlMirror: http://tinyurl.com/phnumqf
Hieroglyph: dāmā 'rope, garland' (Hindi) Rebus: dhamma 'virtious conduct, dharma'
Rebus: dhárma m. ʻ what is established, law, duty, right ʼ AV. [dhárman -- n. RV. -- √dhr̥ ] Pa. dhamma -- m. (rarely n.), Aś.shah. man. dhrama -- , gir. kāl. &c. dhaṁma -- ; NiDoc. dham̄a ʻ employment in the royal administration ʼ; Dhp. dharma -- , dhama -- , Pk. dhamma -- m.; OB. dhāma ʻ religious conduct ʼ; H. kāmdhām ʻ work, business ʼ; OSi. dama ʻ religion ʼ (Si. daham ← Pa.).(CDIAL 6753)
There are two artistic depictions of the rope/garland to signify dharma-dhamma:
1. trefoil
2. garland, rope as on a toraṇa in the Hindu tradition of temple arch or architrave architecture.
kolmo 'three' Rebus: kolimi 'smithy'; kolle 'blacksmith'; kole.l 'smithy, temple' (Kota) Thus, the rope or garland with three strands may connote: dhāma kole.l 'dharma temple'. It is significant that a gloss damha signifies 'fireplace' thus making the reading consistent with the semantics: kole.l 'smithy' (Kota language).
damkom = a bull calf (Santali) Rebus: damha = a fireplace; dumhe = to heap, to collect together (Santali)
Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period, dating after 1900 BC. Credit Harappa.com
Two decorated bases and a lingam, Mohenjodaro. If one end of a tape or belt is turned over three times and then pasted to the other, a trefoil knot results. (Shaw, George Russell (MCMXXXIII). Knots: Useful & Ornamental, p.11.)
Sculpture slab from the lower monastery at Nutta, Peshawar
Wavy garland with bearers from Shrine at Miran in China
Bass relief from Musee Guimet, Paris
Amaravati Stupa rail copings with garland motif
"The Avatamsaka Sūtra (Sanskrit: महावैपुल्यबुद्धावतंसकसूत्र >Mahāvaipulya Buddhāvatamsaka Sūtra) is one of the most influential Mahayana sutras of East Asian Buddhism."
Garland bearing Yaksha. Amaravathi stupa.
fragment of relief with garland, bearers and winged figure Northwest frontier Kusana
Date: 1st-2nd c. CE, 1 CE - 300 CE Huntington Scan. 0009717
Country: India
Site Name: Amaravati
Monument: coping fragment or frieze
Subject of Photo: garland upheld by ganas and interspersed with Buddha figures
Locator Info. of Photo: coping fragment or frieze
Photo Orientation: detail of first section from left
Iconography: Buddha, unidentified
Dynasty/Period: Satavahana
Date: ca. late second to third century CE, 150 CE - 300 CE
Material: white marble
Architecture: structural
Current Location: Madras Government Museum, Madras, Tamil Nadu, India
Copyright Holder: Huntington, John C. and Susan L.
Scan Number: 0026936
The sculptural metaphors speak, declare *saṁhati, *saṅghati, through mlecchita vikalpa hieroglyphs of kole.l 'smithy, temple'.
Just as Indus Script Corpora embody speech, Meluhha speech, the metaphors of ancient temples are a continuum in the mlecchita vikalpa tradition of writing, engraving, carving, sculpting.
The messaging cipher, mlecchita vikalpa, of Meluhha artisan explains the grammar of dharma-dhamma sanatana: dharmasamkathA pl. pious conversation; dhamakArya 'any act of duty or religion, good work, virtuous conduct (Samskritam)
Meluhha artisan emerges out of Makara. Ganga fish-eating ghara 'snout of crocodile', aya 'fish'; āhan gar,ayakara 'metalsmith'; ayo meḍh 'goat-fish''iron merchant'.
Molluscs and Makara hieroglyphs. The iron worker, blacksmith āhan gar, ayakara has created a smithy, a temple: kole.l 'smithy'; kole.l 'temple'.
Makara composition and Makara toraṇa hieroglyph multiplex in the semantics messaging traditions of Indian sprachbund is rebus-metonymy-layered cipher in Meluhha.
The toraṇa which emerges out of the snout of the makara is thus a chord, a garland which carries the mesage like the waves of an ocean, dama rebus: dhamma 'virtuous conduct'.
"Makara Torana: The ornate Makara Torana (Capricorn Arch or festoon) carved out of a single stone with four opposed fierce makara-heads (crocodile heads) adorns above the entrance of the sanctum. It reminds us the Pallava style Makara torana at the Satrumallesvara rock-cut cave temple at Dalavanur and Draupadi ratha at Mamallapuram. Two opposing capricon heads, (facing north and south) are carved at the center of the door lintel and they appear spitting warriors (in miniature size) holding swords and shields. A male image seated on lotus flower flanked by two chauris is shown within the floral ring located at the center between two makara heads. The parallel pair of opposing makara heads are placed one each in the southern and northern corners of the festoon. The intricately coiled feathers appear spread across the entire door lintel." http://know-your-heritage.blogspot.in/search/label/Architecture
Makara Torana (4 opposed Capricorn Heads)
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| Makara Torana: Center Figure |
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| Makara Torana: Figure at Side |
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| Makara Torana: Figure enlarged |
Source: http://know-your-heritage.blogspot.in/search/label/Architecture
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Cham sculptures found in Binh Dinh, Vietnam, held in the Musée Guimet in Paris, France.
Ancient Champa
Cham sculptures of makara in American museums.
Makara, mythical creatures, sandstone sculptures, Thap Mam style
Cham sculptures found in Binh Dinh, Vietnam, held in the Musée Guimet in Paris, France.
Torana of Jagannath Temple, Puri (Photo, 1890)
Makara Angkor Complex, Cambodia.
Makara metaphor is so central to the artists' message that the makara torana (architrave) is an abiding image to support sculptural friezes of many divinities. In this composition, Indra on Airavata elephant is supported by the makara ensemble ligatured with kīrtimukha. So, karā becomes mahā karā, (dh)makara in the writing tradition which started from the mlecchita vikalpa cipher of Indus Script Corpora. Out of the snouts of the makara emerge the garlands, an offering of puja to the paramātman.
(Ảnh: makara Ấn Độ, nguồn: Robert Beer)
Ganga on makara. VaruNa on makara.. Varuna on makara, Halebidu. Varuna on makara, Lakkundi, Lokki Gundi, Gadag
Finial, makara, early-md 16th cent., Ayutthaya Period (1350-1767), Sawankhalok, stoneware, brown & white glaze, 67.5x19.5 cm. South Australian Govt. Grant, 1979
Relief depicting a Makara with Nagas, Wat Suthat, Bangkok, Thailand.
Makara carving. Krishna temple. Hampi. Out of this makara snout emerge a composition of molluscs. sanghin 'mollusc, shell' Rebus: pilgrim: saṅgin ʻ attached to, fond of ʼ MBh. [saṅgá -- ]
Pk. saṁgi -- , saṁgilla -- ʻ attached to ʼ; S. L. P. saṅgī m. ʻ comrade ʼ (P. also ʻ one of a party of pilgrims ʼ), N. saṅi, Or. sāṅga, °gī, H. saṅgī m., M. sãgyā, sāgyā m. *saṅghati ʻ tells ʼ WPah.kṭg. (kc.) sɔ́ṅg
Pk. saṁhaï, sāhaï, sāhēi, saṁghaï, sagghaï ʻ says ʼ, uvasāhaï ʻ tells ʼ, saṁsāhaṇa -- n. ʻ conversation ʼ with Kal. Or. M. rather < *saṁhati, *saṅghati < IE. *senghw -- (Bloch); Pk.āsaṁghā -- f. ʻ wish ʼ formed after Sk. āśaṁsā -- .But saṁhaï, saṁghaï, sāhaï < śáṁsati
RV., saṁsāhaṇa -- < saṁśaṁsati Br., āsaṁghā -- < āśaṁsā -- Pāṇ., with abnormal dev. in verb of ʻ saying ʼ ~ākhyāti, is a simpler hypothesis. J.C.W.).(CDIAL 12842)
The message of the mollusc hieroglyphs is thus, saṁhati -- the sculptures speak as the floral garlands emerge out of the snout of the makara.
The semantics 'says, speaks' may explain the hieroglyph which is a homonym of this gloss: *saṁhati, *saṅghati. The hieroglyph is sanGaDa 'lathe, portable furnace'.
sãghāṛɔ 'lathe' (Gujarati. Desi) m0008 Mohenjo-daro seal. This shows the bottom bowl of the 'standard device' superimposed with dotted circles. Since the top portion of the 'device' is a drill-lathe, these dotted circles are orthographic representations of drilled beads which were the hallmark of lapidaries' work of the civilization. Rebus reading of the kandi 'beads' (Pa.) is: kaND, kandu 'fire altar, smelting furnace of a blacksmith' (Santali.Kashmiri)Glyphs of dotted circles on the bottom portion of the 'standard device': kandi (pl. -l) beads, necklace (Pa.); kanti (pl. -l) bead, (pl.) necklace; kandit. bead (Ga.)(DEDR 1215). Rebus: लोहकारकन्दुः f. a blacksmith's smelting furnace (Grierson Kashmiri)See: http://bharatkalyan97.blogspot.in/2011/09/meluhha-epigraphia-indus-language.html
Photograph of a statue of Ganga in the Jagannatha Temple at Puri, from the Archaeological Survey of India Collections, taken by Poorno Chander Mukherji in the 1890s. The temple was founded in the 12th Century by Anantavarman Chodaganga (r.1077-1147) of the Eastern Ganga dynasty.
Harappa tablet h180 (section). One glyph composition enlarged to show the crocodile ligature close to pudendum muliebre of the female with thighs apart and shown lying upside down.
P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing. and Pl.); (W.) Pl. آهن رباوي āhan-rubāwī. اوسپنه aos-panaʿh, s.f. (3rd) Iron. Also used as an adjective to qualify another noun, signifying, Iron-like, hard. Pl. يْ ey. اوسپنخړيَ aos-panḵẖaṟṟaey, s.m. (1st) The dross of iron left after melting. Pl. يِ ī.
kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ)
The glyphic elements shown on the tablet are: copulation, vagina, crocodile. h180 tablet.
The glyph showing the image of a crocodile issuing forth from a female with thighs drawn apart is one side of a tablet h180. Same text is repeated on both sides.
The glyphic elements shown on the tablet are: copulation, vagina, crocodile. h180 tablet.
Hieroglyphic composition: ‘copulation’: kamḍa, khamḍa 'copulation' (Santali) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) Vikalpa: kaṇḍa ‘stone (ore)’.
Glyph: vagina: kuṭhi ‘vagina’; kuṭhi ‘pudendum muliebre’ (Mu.) khoḍu m. ‘vulva’ (CDIAL 3947). rebus: kuṭhi ‘smelting furnace’. Rebus: kuṭhi ‘smelter furnace’ (Mu.)khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947)
The descriptive glyphics indicates that the smelting furnace is for stone (ore). This is distinquished from sand ore.
Crocodile (copulating with or) issuing forth from the womb: karā 'crocodile' (Telugu) khār 'blacksmith' (Kashmiri)
kāru a wild crocodile or alligator (Te.) mosale ‘wild crocodile or alligator. S. ghaṛyālu m. ʻ long — snouted porpoise ʼ; N. ghaṛiyāl ʻ crocodile’ (Telugu)ʼ; A. B. ghãṛiyāl ʻ alligator ʼ, Or. Ghaṛiāḷa, H. ghaṛyāl, ghariār m. (CDIAL 4422) கரவு² karavu
, n. < கரா. cf. grāha. Alligator; முதலை. கரவார்தடம் (திவ். திருவாய். 8, 9, 9).
கரா karā , n. prob. grāha. 1. A species of alligator; முதலை. கராவதன் காலினைக்கதுவ (திவ். பெரியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.)
mahā kara = मकर [ makara ] m (S) An aquatic monster understood usually of the alligator, crocodile, and shark, but, properly, a fabulous animal. It is the emblem of the god of love. (Marathi) H گهڙيال घड़ियाल ghaṛiyāl [S. घण्टिका +आलः or आलु ], s.m. A crocodile; the Gangetic alligator, Lacerta gangetica (cf. magar).H مگر मगर magar [Prk. मकरो ; S. मकरः ], s.m. An alligator; a crocodile. mahā kara = मकर [ makara ] is a hieroglyph multiplex composed of a number of hieroglyph components:
1. Crocodile snout, ghara Rebus: khār ‘blacksmith’
2. Fish-tail, xolā Rebus: kolle 'blacksmith'
3. Elephant trunk as snout, ibha 'elephant' Rebus: ib 'iron'
Rebus: khār ‘blacksmith’ khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार ; the pl. dat. of this word is khāran 1 खारन् , which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु&below; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü -ग&above;जू&below; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below; ), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू&below; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क&above;टु&below; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि ), the large stone used by a blacksmith as an anvil.
The average body weight of the species is from 159 to 250 kg (350 to 550 lb). Males commonly attain a total length of 3 to 5 m (9.8 to 16 ft), while females are smaller and reach a body length of up to 2.7 to 3.75 m (8.9 to 12.3 ft). http://crocodileworld.blogspot.in/2012_11_01_archive.html
In 2009, gharial occurrences were reported at Sabujdwip and Balagarh of Hooghly district; Nabadwip; Patuli-Agradwip; and Ketugram II block of Burdwan District in Ganga River, West Bengal.http://innovativeindiatours.com/conservation/
Illustration for Blackie's Modern Cyclopedia (1899).
Gharial crocodile at Chitwan National Park Annapurna Conservation Area. Nepal. Stretches to over 900 sq km,
As the Sanchi toraṇa declares in the centre-piece: these belong to the smithy, kole.l, 'temple' of dhoraṇi-vaThAra-dhamma (elephant-gait-spoked-wheel), architrave dharma quarter of the town of Vidisa.
Ganga, right, the deified Ganges River, in terracotta on a door pillar from U.P., India, Pratihara, 10th century CE. Following iconographic prescription, Ganga stands on her mount, the Makara, a stylized mythological crocodile-like aquatic monster (which unfortunately has been damaged in this piece) and (likely) holds a kumbha, a full pot of water, in her hand (which too has been damaged), while an attendant holds a parasol over her. She leans in the tribhanga pose on a dwarf attendent, while a male guard (or consort?) stands nearby. The dimensions of the art-work are: height: 63 cm (25 in), width: 39 cm (15 in), depth: 26 cm (10 in). From the National Museum of India, New Delhi.
Ganga Ma on her Makara. Charbangla temple (North), Baranagar, Dist. Murshidabad, West Bengal
Celtic forge bellows replica from Museum Für Urgeschichte (Austria), V-I BCE.Crucible being heated; below right – the bellows in action
Relief of Makara at Candi Gedong Songo , Bandungan , Semarang , Central Java , Indonesia
Makara with Nagas, Wat Suthat, Bangkok, Thailand
Ganga, right, the deified Ganges River, in terracotta on a door pillar from U.P., India, Pratihara, 10th century CE. Following iconographic prescription, Ganga stands on her mount, the Makara, a stylized mythological crocodile-like aquatic monster (which unfortunately has been damaged in this piece) and (likely) holds a kumbha, a full pot of water, in her hand (which too has been damaged), while an attendant holds a parasol over her. She leans in the tribhanga pose on a dwarf attendent, while a male guard (or consort?) stands nearby. The dimensions of the art-work are: height: 63 cm (25 in), width: 39 cm (15 in), depth: 26 cm (10 in). From the National Museum of India, New Delhi.
Mathura. pink sandstone. h. 18.5 in. Lucknow state museum. Frieze fragment with makara carved in shallow relief Hungtingon scan0004425. Early makara iconography included crocodile, elephant (trunk) and fish-fin hieroglyphs.![Related image]()
Halebidu makara is embellished with peacock feathers. maraka 'peacock' rebus: marakaka loha 'copper calcining metal'.
See: Bronze peacocks and pinecones of the Vatican
Bronze peacocks in the Vatican are made by Bharatam Janam and an Indus Script hieroglyph 'a type of steel' http://tinyurl.com/z2xcphj
मोरकम् 1 A kind of steel. मोरक [p= 835,3] n. a kind of steel L. (Samskrtam) Mora [the contracted, regular P. form of *Sk. mayūra, viâ *ma -- ūra>mora. See also Geiger, P.Gr. § 27 & Pischel, Prk. Gr. § 166. -- Vedic only mayūrī f. pea -- hen] a peacock J ii. 275 Perhaps also as morakkha "a peacock's eye" at VbhA 63 (morakkhaka loha, a kind of copper, grouped with pisācaloha). It is more likely however that morakkha is distorted fr. *mauryaka, patronymic of mura, a local (tribal) designation (cp. murala), then by pop. etym. connected with mora peacock. With this cp. Sk. moraka "a kind of steel" BR. (Pali) mayūˊra m. ʻ peacock ʼ VS., in cmpds. RV., mayūrīˊ -- f. ʻ peahen ʼ RV. 2. *mōra -- . 3. *majjūra -- (< *mayyūra<-> with early eastern change -- yy -- > -- jj -- ?). [mayūka -- , marūka -- 1 m. lex. -- J. Bloch BSL 76, 16 ← Drav. (cf. DED 3793); J. Przyluski BSL 79, 100 ← Austro -- as. (cf. also Savara māˊrā ʻ peacock ʼ Morgenstierne); H. W. Bailey BSOAS xx 59, IL 21, 18 connects with Khot. murāsa -- as orig. an Indo -- ir. colour word. -- EWA ii 587 with lit.]1. Pa. mayūra -- m. ʻ peacock ʼ, Pk. maūra -- , maūla -- m.; Sh. (Lor.) maiyūr m. ʻ cock munāl pheasant ʼ; A. mairā ʻ peacock ʼ, B. maür, maur, Or. maïram., °rī f., Si. mayurā, miyurā.2. Pa. mōra -- m., mōrinī -- f., Aś.gir. mora -- , Pk. mōra<-> m., °rī -- f., K. mōr m., S. moru m., L. P. mōr m., Ku. Mth. Bhoj. mor, OAw. mora m., H. morm., °rī, °rin f., OMarw. moraḍī f., G. M. mor m., Si. mōrā; <-> H. (dial.) mhor, murhā m., Ko. mhōru.3. Aś.shah. man. majura -- , kāl. majula -- , jau. majūla -- , N. majur, mujur, Or. (Bastar) mañjura, OAw. maṁjūra m., Si. modara, monara.*mayūrapakṣala -- .Addenda: mayūˊra -- : WPah.kṭg. (kc.) mōr ʻ peacock ʼ.(CDIAL 9865)![]()
Hieroglyph components of makara, Halebidu: body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears of a pig, and the tail of a peacock.
The hieroglyphs declare *saṁhati, *saṅghati:These are hieroglyph components of the multiplex cipher read in rebus-metonymy-layers: ibha 'elephant' rebus: ib 'iron'; aya 'fish' rebus: aya 'metal', arye 'lion' rebus: arA 'brass', kuṭhāru 'monkey' rebus: kuṭhāru 'armourer', baDhi 'boar' rebus: baRea 'merchant'; maraka 'peacock' rebus: makara loha 'copper alloy calcining metal'.
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Makara with peacock tail at Lakuddi near Gadag, Karnataka![]()
Aihole Durga temple. Association of makara with iron smelter/furnace work.Varuna on Makara (Rain God on Crocodile) - at Aihole Museum . kola 'tiger' rebus: kolhe 'smelter' kol 'working in iron' PLUS kammara 'look back' rebus: kamar 'blacksmith'.![Image result for peacock varuna aihole]()
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Location: Ellora, Aurangabad District, Maharashtra State, India Site: Ellora Monument/Object: Ellora Caves complex, Cave 16 ("Kailasanatha Temple") Current Location: same as site location Subject: Karttikeya, Agni, Vayu, and Varuna Photo Depicts: niches 7-11 (starting 2nd niche from left) Locator Information: gopura, left gateway Period: Rastrakuta
Date: ca. 3rd quarter of 8th century CE Religious Affiliation: Hindu, Saivite Material: stone Scan Number: 7805 Photo Date: 1970 Copyright: Huntington, John C. and Susan L. Image Source: Huntington Archive
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Location: Sanchi, Raisen Dt., Madhya Pradesh, India Site: Sanchi Monument/Object: Sanchi Buddhist Monastery complex, sculpture Current Location: Sanci Site Museum, Madhya Pradesh, India Subject: Varuna Photo Depicts: front Period: Rajput Dynasties, north India (dynasty unknown)
Date: ca. 11th century CE Religious Affiliation: Buddhist
Material: sandstone, beigeScan Number: 1335 Photo Date: 1969 Copyright: Huntington, John C. and Susan L. Image Source: Huntington Archive
Hieroglyph components of makara, Halebidu: body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears of a pig, and the tail of a peacock.
The hieroglyphs declare *saṁhati, *saṅghati:These are hieroglyph components of the multiplex cipher read in rebus-metonymy-layers: ibha 'elephant' rebus: ib 'iron'; aya 'fish' rebus: aya 'metal', arye 'lion' rebus: arA 'brass', kuṭhāru 'monkey' rebus: kuṭhāru 'armourer', baDhi 'boar' rebus: baRea 'merchant'; maraka 'peacock' rebus: makara loha 'copper alloy calcining metal'.
Makara with peacock tail at Lakuddi near Gadag, Karnataka
Aihole Durga temple. Association of makara with iron smelter/furnace work.
Varuna on Makara (Rain God on Crocodile) - at Aihole Museum . kola 'tiger' rebus: kolhe 'smelter' kol 'working in iron' PLUS kammara 'look back' rebus: kamar 'blacksmith'.
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