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Data mining of Indus Script Corpora reveal the purpose of ceramic (stoneware) bangles (22), seals, fillets as dharma saṁjñā, 'badges of responsibility'.They are Corporate badges, with deciphered Indus Script inscriptions. Socio-cultural framework of a workshop (smithy-forge as a temple) for a cluster of Vedic villages unravels organization of artisanal-seafaring merchant society as a Corporation with ancient guilds. The reference to an archaeological settlement of Sarasvati civilization is based on the finds of fire-altars in many sites (80% or over 2000 sites out of 2600 sites of the Indus valley civilization are on the banks of Vedic River Sarasvati), exemplified by the octagonal brick found in Binjor fire-altar (close to Anupgarh and Ganweriwala). At Anupgarh, the river forks into two channels: one flowing southwards towards Jaisalmer and another westwards towards Ganweriwala. Binjor Indus Script seal PLUS fire-altar with octagonal brick (a signature tune of Vedic culture). See: http://bharatkalyan97.blogspot.in/2015/12/binjor-seal-with-indus-script.html Binjor seal with Indus Script deciphered. Binjor attests Vedic River Sarasvati as a Himalayan navigable channel en route to Persian Gulf Locus of Binjor, near Anupgarh on Vedic River Sarasvati There are clear intimations of precursors to corporate life in ancient Bharatam with the social organization of the samajam governed by the weltanchauung of dharma. By unambiguous allocation of socio-cultural responsibilities governing the economic activity and businesses (production and marketing) of Bharatam Janam in clusters of villages, dharma was enshrined as the inviolate principle of all cosmic phenomena manifested in material aspects of living. There are clear indications that cororate form (sreni) was used for the business of people. One one ceramic (stoneware) bangle (m1639) such a sreni is clearly identified headed by a sreshthin, guild-master. Thus, millennia before the Roman proto-corporations, Bharatam Janam, 'metalcaster folk' had evolved a system of socio-cultural organization of commonwealths (janapadas) for conducting businesses. Assets of the sreni were deposited into the treasury of the commonwealth and were distinct from the assets of the individual members of the sreni, many of whom were artisans and seafaring merchants. Location of Balakot, a site of Saraswvati civilization where a ceramic (stoneware) bangle with inscription was found. (Balakot 06) See: http://www.penn.museum/sites/expedition/shell-working-at-ancient-balakot-pakistan/ Shell working at Ancient Balakot, Pakistan (Expedition, UPenn., Vol. 19, Issue 2, January, 1977) Balakot 06 Ceramic (stoneware) bangle with inscription Intimations of such janapadas are seen in the way distinct badges (as corporate badges) evolved for specific functionaries. Roots of the corporate form detailed in Kautilya's Arthas'astra are to be found in the corporate identities indicated by distinct structural elements in Indus Script corpora such as ceramic (stoneware) bangles, fillets, seals -- all with inscriptions -- as Dharma saṁjñā Corporate badges. For an Economic History of Corporate form in Ancient India, see a paper by Vikramaditya S. Khanna (2005): http://papers.ssrn.com/sol3/papers.cfm?abstract_id=796464 It is possible to read the sã̄gāḍā°ḍī 'lathe, portable furnace' hieroglyph-multiplex as rebus: sanghar 'fortification'; jangada 'consignments on approval' The pronunciation in Gujarati is jangaḍ relatable to jangāḍiyo ‘a military guard who accompanies treasure into the treasury’ (of the commonwealth or guild)(Gujarati). Such a dharma saṁjñā 'corporate badge' may be the gold fillet with 'lathe' hieroglyph. Gold paṭa, 'fillet'. Punctuated design on both ends. Mohenjodaro. Executive summary: Socio-cultural framework of Vedic village clusters of Bronze Age The workshops evidenced by circular platforms are Corporations of the Bronze Age, with the emergence of guilds of artisans with specific functions and responsibilities to promote the Corporation as a commonwealth. It was a smiths' guild at work on circular platforms of Harappa using tablets as category 'tallies' for the final shipment of package with a seal impression. each functionary in the guild had a recognizable paṭa 'badge' (Corporate badge of dharma, of responsibility assigned in a socio-cultural organization of the samajam). A Bronze Age village of Bharatam Janam or a cluster of such villages was a janapada, a Corporation of artisan guilds. Three paṭa 'badges' are shown on the stone statue of the so-called 'priest-king' who wears a fillet on his forehead and also on hi right shoulder. A third badge is signified on his uttariyam (shawl) which is embellished with the hieroglyphs of 'trefoils' signifying tri-dhAtu 'three mineral' strands of dhā̆vaḍ 'smelter', with assigned functional responsibility.of a Potr 'purifier'. It is suggested that many such badges were worn by artisans of a Vedic village of the Bronze Age; such badges were ceramic (stoneware) bangles. An "eye bead" made of gold with steatite inlay, Harappa. Fired steatite beads appear to have been extremely important to the Indus people because they were incorporated into exquisite ornaments, such as this "eye bead" made of gold with steatite inlay found in 1995 at Harappa [Harappa Phase]. https://www.harappa.com/slide/gold-disc The central ornament worn on the forehead of the famous "priest-king" sculpture from Mohenjo-daro appears to represent an eye bead, possibly made of gold with steatite inlay in the center. https://www.harappa.com/slide/priest-king-forehead The weltanchauung, 'world perception' of artisans in a Vedic village was governed by 1. dharma, assigned responsibilities and 2. the metaphor of a kole.l 'smithy-forge' as a kole.l 'temple'. Male head probably broken from a seated sculpture. Finely braided or wavy combed hair tied into a double bun on the back of the head and a plain fillet or headband with hanging ribbons falling down the back. The upper lip is shaved and a closely cropped and combed beard lines the pronounced lower jaw. Male head shows the typical arrangement of the hair in a double bun, held in place by a thin fillet (badge) tied on the forehead. Functions assigned were recognized by distribution of ceramic (stoneware) bangles worn as paṭa, 'socio-cultural honour-badges'. Such a paṭa m. ʻ slab, tablet, metal plate ʼ,was distinct from the seals and tablets. Such a paṭa was a gold fillet with the inscribed sã̄gāḍā°ḍī 'lathe, portable furnace' hieroglyph-multiplex . Hieroglyph: सांगड [ sāṅgaḍa ] That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.Rebus 1: Sangara [fr. saŋ+gṛ1 to sing, proclaim, cp. gāyati & gīta] 1. a promise, agreement J iv.105, 111, 473; v.25, 479; sangaraŋ karoti to make a compact Vin i.247; J (Pali) Rebus 2: śã̄gaḍa 'catamaran'. Such a सांगड [ sāṅgaḍa ] is alsoa hieroglyph-multiplex, f A body formed of two or more (fruits, animals, men) linked or joined together. Such a paṭa were two anthropomorphs of copper/bronze with spread legs of a human body. The rebus reading of the hieroglyph-multiplex (hypertext) on the badges: 1. helmsman, merchantman, (metal) suercargo, engraver, merchant, worker in wood and iron; 2. helmsman, (metal) supercargo, iron worker Spread legs on both anthropomorphs signify कर्णक 'spread legs' rebus: 'helmsman' Sharply defined inscriptions on each of the 22 ceramic (stoneware) bangles indicate 21 sharply assigned responsibilities within the guild for metalwork, for e.g. 21 functional allocations of responsibilitie of artisans delineated in a Vedic village: 1. iron smelting, furnace work (m1659) 2. metal casting, engraving, documenting supercargo (m1647) 3. bronze (casting)(m1646) 4. gota (laterite) (m1641) 5. Seafaring merchant, magnetite ingot workshop (m1643) 6. Smithy, forge (m1641) 7. Moltencast copper, brass (m1640) 8. Alloy metal mint, weapons, implements workshop, guild master workshop (m1639) 9. Bronze ingots, implements, magnetite ingots (m1638) 10. Metalcasting workshop (cire perdue?)(m1637) 11. Metal implements, weapons, smithy, forge (m1636) 12. Blacksmith, seafaring merchant (m1634) 13. Helman for supercargo boat, iron furnace work, metals workshop (m1633) 14. Metal casting, alloy mixing workshop (m1632) 15. dhā̆vaḍ 'smelter', supercargo of implements (m1631) 16. Magnetite ingots, furnace work, supercargo engraver (m1630) 17. Iron furnace work, metal casting of tin, helmsman supercargo of metals, bharat ‘mixed alloys’ metalworker (m1629) 18. Minerals workshop guild (h2576) 19. Magnetite ingots, smelter (h1010) 20. dhā̆vaḍ 'smelter' tri-dhAtu, '‘three minerals (H98-3516/8667-01) 21. Seafaring merchant, supercargo engraver(Blkt-6)
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Two Indus Script incribed anthropomorphs of Ancient Bharatam copper complexes are deciphered as seafaring metalsmiths, merchants. One anthropomorph links Indus Script hieroglyph one-horned young bull to Varāha and reinforces Vedic roots of civilization of Bharatam Janam. Another anthropomorphic representation occurs of Varāha in the Vedic tradition. Late Uruk and Jemdet Nasr seal; ca. 3200-3000 BC; serpentine; cat.1; boar and bull in procession; terminal: plant; heavily pitted surface beyond plant Indus Script hieroglyphs read rebus: baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’ Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith' Rakhigarhi stone and metal sources and acquisition networks identified in this study. Potential, but as of yet unconfirmed, copper, gold and chert source areas are also indicated. http://bharatkalyan97.blogspot.in/2015/11/indus-script-dhatu-scarf-on-rhinoceros.html Gold sheet and silver, Late 3rd/early 2nd millennium B.C.E. L. 12.68 cm. Ceremonial Axe Baktria,Northern Afghanistan http://www.lessingimages.com/search.asp?a=L&lc=202020207EE6&ln=Collection+George+Ortiz%2C+Geneva%2C+Switzerland&p=1 Shaft-hole axe head with bird-headed demon, boar, and dragon.Bronze Age, ca. late 3rd–early 2nd millennium B.C.,Bactria-Margiana metmuseum.org See: http://bharatkalyan97.blogspot.in/2011/09/central-asian-seals-seal-impressions.html Cast axe-head; tin bronze inlaid with silver; shows a boar attacking a tiger which is attacking an ibex.ca. 2500 -2000 BCE Bactria-Margiana Archaeological Complex. Length: 17.8 cm (7 in). Weight: 675.5 g (23.82 oz). British Museum.ME 123268 (1913,0314.11913,0314.1) R. Maxwell-Hyslop, 'British Museum “axe” no. 123628: a Bactrian bronze', Bulletin of the Asia Institute, NS I (1987), pp. 17-26 Indus Script hieroglyphs चषालः caṣāla varaha's snout, bhūĩ 'earth' as bhudevi Rebus: bhũ 'wheat chaff' as annam in smelting to obtain अमृत, 'Soma juice', performing Vajapeya Soma Yaga. The metaphor is ascent to heaven to reach the moon planet as explained by Chandogya Upanishad (see embedded excerpts from text with translations). See: http://bharatkalyan97.blogspot.in/2016/01/and-hurling-casala-thunderbolt-from.html अमृत -इष्टका and hurling the चषाल caṣāla, 'thunderbolt' from the yupa after reaching heaven, gaining the अमृत, 'ambrosia' चषालः caṣāla 'varaha's snout' lifts up the earth and stone (minerals) to attain amṛta अमृत immortality, imperishable state; ambrosia, beverage of the gods. amRta is Soma juice, i.e., molten metal achieved through the smelting process. The Vajapeya yaga is thus a metaphor for processing Soma, the molten metal with the interventio of bhũ 'wheat chaff' as annam in smelting. This is the चषालः caṣāla, top-piece of the Yupa which signifies the Yaga. It is also signified by an octagonal hour-glass-shaped top-piece on the Yupa, 'pillar, post'. छान्दोग्य उपनिषद् (integral segment of Samaveda tradition of Soma Yaga): ॐ इत्येतदक्षरं उद्गीथमुपासीत ओमिति हृद्गायति तस्योपव्याख्यानम् (1.1) Worship ye OM, the eternal syllable, OMis the Udgitha, the chant of Samaveda; for with OM they begin the chant of Sama. And this is the exposition of OM. एषा भूतानाम् पृथिवी रसः पृथिव्या आपो रसः अपामोषधयो रस ओषधीनां पुरुषो रसः पुरुषस्य वाग्रसो वाच ऋग्रस ऋचः साम रसः साम्न उद्गीथ रसः (1.2) Earth is the substantial essence of all these creatures and the waters are the essence of earth; herbs of the field are the essence of the waters; man is the essence of the herbs.Speech is the essence of man, Rigveda the essence of Speech. Sama is the essence of Rik. Of Sama OM is the essence. स एष रसाना रसतमः परमः परार्ध्योष्टमा यदुद्गीत्थः (1.3) This is the eighth essence of the essences and the really essential, the highest and it belongeth to the upper hemisphere of things. कतमा कतमर्क कतमत् कतमत्साम कतमः कतम उद्गीथ इति विमृष्टम् भवति (1.4) Which among things & which again is Rik; which among things and which again is Sama; which among things and which again is OM of the Udgitha -- this is now pondered. ... "They who perform pious deeds in their village enter the smoke, . . . and then they go from the sky to the moon planet." Chandogya Upanishad (5.10.3-4) explains the ascent of the yajnika (Vajapeya soma yaga) to heaven. Here the metaphor is reaching the moon planet. The reaching of heaven is recognized by declaring Soma, the king and the way Soma is processed as food by the divinities. This metaphor signifies an archaeometallurgical process of attaining Soma using bhũ 'wheat chaff' as annam in smelting. In iconographic rendering this bhũ 'wheat chaff' is signified by the rebus hieroglyph: bhūĩ 'earth' as bhudevi 'mother earth'. The structure of the octagonal yupa signifying Vajapeya Soma yaga includes an octagonal चषालः caṣāla signified by the hour-glass-shaped vajra as shown in the iconography of Vajrapani and in the cylinder seal rendering in Jasper Cylinder seal showing flagstaff-carriers with six-locks of hair (baTa 'six' rebus: bhaTa 'furnace) and signifying the flagstaff with an hour-glass-shaped top vajra 'thunderbolt weapon' as चषालः caṣāla. The signified are metalworkers smelting working with furnaces to produce metallic weapons. See: http://bharatkalyan97.blogspot.in/2016/01/indus-script-hieroglyphs-yupa-bhui-to.html चषालः caṣāla is signified by the snout of a boar, varaha. चषालः caṣāla on Yupa, made of wheat straw, an Indus Script hieroglyph, signifies pyrolysis/carburization in smelting ores into steel/hard alloys Yupa is a kunda, a pillar of bricks. This kunda signifies a fire-alter or agnikunda in Vedic tradition. A signifier of the pillar is a चषालः caṣāla as its top piece. This चषालः caṣāla (Rigveda) is made of wheat straw for pyrolysis to convert firewood into coke to react with ore to create hard alloys, e.g. iron reacting with coke to create crucible steel or carburization of wrought iron in a crucible to produce steel. See: https://en.wikipedia.org/wiki/Crucible_steel The sacredness associated with चषालः caṣāla is demonstrated by the architectural splendour of ancient varaha sculptures in the Hindu tradition. On the varaha monolith in Khajuraho, the चषालः caṣāla is signified by Devi Sarasvati. On many other sculptures of varaha, the चषालः caṣāla is associated with Mother Earth भूदेवी bhudevi. A gallery of varaha sculptural splendour is embedded together with explanatory notes on the dcipherment of metal work catalogue in a Rakhigarhi seal with a rhinoceros decorated with a scarf (dhatu 'scarf' rebus: dhatu 'ore'). The Indus Script hieroglyphic hypertexts get expanded into metaphors during the historical periods narrating Varaha as the third Avatara of Vishnu. In archaeometallurgical parlance, the चषालः caṣāla is the core pyrolysis process to create crucible steel and/or hard alloys in smelting processes. http://bharatkalyan97.blogspot.in/2016/01/casala-on-yupa-indus-script-hieroglyph_6.html Thus, Varaha signifies a yajna in the Vedic tradition. The continuum of this Vedic tradition is also evidenced in gthe Varaha ligature to the copper/bronze anthropomorph with an Indus Script inscription of a one-horned young bull which has been read in the context of metalwork catalogues of the Sarasvati civilization. Varaha Purana has a narrative about Gudakesha who prayed to Vishnu for 14 years. He wanted a boon to make new metal material, tamba 'copper' using his body parts, flesh, tendon etc. Purana records that his blood created gold, flesh and tendon copper, bones silver, and other parts created other material. Because of this boon, Vishnu said that tamba was his favourite metal. Varaha anthropomorphic sculpture in Khajuraho (c. 900-925) is of sandstone, 2.6 metres (8 ft 6 in) long and 1.7 metres (5 ft 7 in) high (ASI, Varaha temple). The flat ceiling of the shrine is car. ved with a lotus flower of exquisite design in relief. tAmarasa 'lotus' rebus: tAmra 'copper'. This Yajna varaha of Khajuraho signifies 674 Vedic divinities in 12 rows as an embodiment of Vedic knowledge and yajna performance. Anthropomorphs as sculptural metaphors is an Indus Script Cipher tradition. The continuum of the Indus Script tradition is exemplified by the Varaha ligature to the copper/bronze anthropomorph of copper complexes together with the inscription of a dominant pictorial motif of the writing system: One-horned young bull. The anthropomorph has been read rebus as a metalwork catalogue, a calling card of the metalsmith-smelter of the Bronze Age. The same metaphor is seen in the Varaha sculpture of Khajuraho as an embodiment of Vedic knowledge systems with particular reference to the performance of the yajna-s. The skambha (rebus: kammaTa 'mint') held in the left hand and a skhambha with caSAla or Sudarshana cakra held in the right hand of Varaha murti in Somnathpur is a descriptive account of a Soma Yaga celebrated and documented in 19 Yupa inscriptions of Rajasthan, Mathura, Allahabad and East Borneo during the historical periods. varaha, somnathpur. Bronze Caturanana. Vishnu, Vasudeva, Varaha, Narasimha. See: http://bharatkalyan97.blogspot.in/2016/01/casala-on-yupa-indus-script-hieroglyph_6.html Coin with Varaha (Vishnu Avatar) on a Gurjara-Pratihara coin 850-900 CE,British Museum. Udayagiri cave, near Vidisha. Varaha. depicted on the upper lip (snout) of Varaha. Varaha temple. Khajuraho. Site Name: Khajuraho Monument: Varaha Mandir Subject of Photo: Varaha Locator Info. of Photo: SE of Laksmana temple courtyard Photo Orientation: overview from SW looking NE Iconography: Varaha Dynasty/Period: Candella Date: ca. latter half of the tenth century CE, 950 CE - 1000 CE Material: stone Architecture: structural Zoom into Sarasvati image on the upper lip (snout) of Varaha
Processions on Indus Script are proclamation hypertext clusters. Presented in a Venn diagram, A ∩ B intersection set signifies metalwork catalogues. This intersection A ∩ B marked in red, will be elaborated in the following examples from the Indus Script Corpora. Set A are words signified by hieroglyph-multiplexes and Set B are rebus readings from Meluhha metalwork lexis; the intersection A ∩ B presents the deciphered plain texts, which are metalwork catalogues which constitute the Indus Script Corpora. Set A are hieroglyphs of Indus Script. Set B are rebus Meluhha renderings from metalwork lexis. The intersection of the two sets A and B signified by A ∩ B constitute metalwork catalogues of Bronze Age Meluhha artisans. The intersection area of the two SETS (A,B) of Indus Script Corpora (hypertexts and rebus readings) relate to ONLY one category: metalwork. One type of Venn diagram, in mathematics, illustrates the intersection of two sets. This is a foundational set theory of mathematics and is used -- as a device for data mining -- to explain Bronze Age documentations of metalwork data sets. The Venn Diagram intersection of Indus Script cipher creates the Indus Script Corpora as catalogus catalogorum, metalwork catalogues. The processions or galleries of hieroglyph-multiplexes are announcements of two SETS: A, B. The cyper text is thus decoded into plain text of metalwork catalogue. What was achieved as advances in mathematics, say, the invention of zero by ancient Indians, was also achieved in the delineation of sets on Indus Script Corpora by the use of a simple Indus Script Cipher. In this Cipher, Set A is lexis read for cypher-hypertexts (e.g. karibha, ibha, 'trunk/elephant', kola 'tiger', kANDA 'rhinoceros', rim of jar). Set B is lexis read for metalwork, i.e. deciphered plain texts (e.g. ib, karba, 'iron', kol 'working in iron', kANDa 'implements'). The intersection set A ∩ B is realized by the homonyms: one list used for hieroglyphs, the other for metalwork cataloguing. This achievement, announced as proclamations of Indus Script, is posited based on data mining of Indus Script Corpora as metal work catalogues of the Bronze Age. Clusters are presented in Indus Script Corpora in three orthographic styles: 1. Processions of animals/symbols (also called signs) 2. Galleries/Collages of animals and 3. Hieroglyph-multiplexes (hypertexts) combining signifier components (say, makara combining trunk of elephant with horns of zebu or fin of fish or crocodile body) as in composite animals and composite 'signs'. There is a word in Meluhha to signify such combinations of hypertext components: the word is सांगड (p. 840) [ sāṅgaḍa ] f A body formed of two or more (fruits, animals, men) linked or joined together. One reasonable surmise about the significance of over 400 artifacts of Nahal Mishmar is that many would have been carried in processions. This is not unlike the utsava bera carried in processions on festive days in Ancient Bharatam, a practice which continues even today. When I made an enquiry about 240 mace-head replicas in exquisite castings discovered in Nahal Mishmar, Dr' Uzi Avner and Moti Shemtov very kindly responded. They led me to a remarkable doctoral thesis of Dr. Michael Serbane under the supervision of Prof. Benjamin Sass of Tel Aviv University on ‘The Mace in Israel and the Ancient Near East from the Ninth millennium to the First – Typology and chronology, technology, military and ceremonial use, regional interconnections’ (2009). This is an extraordinary presentation of the results of data mining over 9 millennia of cultural practices, archaeological and artefact evidences related to maceheads. Who knows? The exquisite mace-head replicas of arsenical copper castings may have been used in ceremonial veneration of the warrior ancestors of the bronze age artisans of Nahal Mishmar. The quality of the casting achieved on the macehead replicas is simply astonishing and attests to the metallurgical competence of our ancestors. I am extremely grateful to Dr. Michael Serbane’s work which presents a breathtaking simhavalokanam of practices in an extensive area, over an extended period of time. Surely, the mace was an artefact of great importance, whatever its import as an insignia of authority or divine dispensation. This figure presented by Dr. Michael Serbane evokes the imagery of a Soma Yaga Yupa with a caSAla. The figure on the top row with a safflower ligature is significant. I siggest that the safflower signified all over Ancient Near East and the Levant, करडी [ karaḍī ] f (See करडई) Safflower: also its seed. Rebus: karaḍa 'hard alloy' [of arka 'copper']. Rebus: fire-god: @B27990. #16671. Remo <karandi>E155 {N} ``^fire-^god''.(Munda). If carried on processions, these standards or flagposts are comparable to the procession shown on two Mohenjo-daro tablets as proclamations of metallurgical competence. I cite from Insights and conclusions arising from the foundations of the study: “Raw materials and manufacture (Chapter 3): The technological, metallurgical and petrographic aspects pertaining to the manufacture of copper and copper alloy maceheads have been thoroughly investigated in recent decades as part of the study of the Chalcolithic metal industry, in particular of objects cast in the lost-wax technique. The present study reviews these investigations, offering observations on the possible locations of mines and quarries, on production centres, and on the reconstruction of production processes. The specialized haematite and limestone manufactures, on the other hand, are addressed here for the first time, with an emphasis on their restoration…In Mesopotamia the mace is the weapon and attribute also of warrior goddesses.” The haematite manufacture finds its echo in the three classifications evidenced by Indus Script Corpora of magnetite, haematite and laterite signified by three hieroglyphs: zebu, scorpion and round raised dot. Since the epigraphs or inscriptions of Indus Script are sangara 'proclamations' they become catalogues conveying to the receivers of the messages information on technical specifications of innovative metalwork accomplishments.These accomplishments were a life-activity of Bhāratam Janam, metalcaster people (RV 3.53.12: Visvamitra). An example is the turbinella pyrum s'ankha shell seal of Dwaraka with three heads of animals (antelope, young bull, bull) joined to a bovine body. This is a सांगड sāṅgaḍa rebus: sangara 'proclamation'of ranku 'antelope' Rebus: ranku 'tin' Alternative: mlekh 'antelope, goat' Rebus: milakkha 'copper' PLUS kōnda 'young bull' Rebus: कोंद kōnda 'engraver, lapidary setting or infixing gems' PLUS barad 'ox' rebus: भरत bharat, bharan or toul 'alloy of copper, pewter, tin'. Kuwait gold disc: gallery of Indus Script hieroglyphs "Gold disc. al-Sabah Collection, Kuwait National Museum. 9.6 cm diameter, which was obviously from the Indus Valley period in India. Typical of that period, it depicts zebu, bulls, human attendants, ibex, fish, partridges, bees, pipal free an animal-headed standard." Benoy K. Behl https://www.facebook.com/BenoyKBehlArtCulture Source: http://tinyurl.com/nom5kkv In the context of the bronze-age, the hieroglyphs are read rebus in Meluhha (mleccha) speech as metalware catalogs. http://bharatkalyan97.blogspot.in/2013/05/indus-writing-as-metalware-catalogs-and_21.html http://bharatkalyan97.blogspot.in/2013/05/tokens-and-bullae-evolve-into-indus.html See examples of Dilmun seal readings at http://bharatkalyan97.blogspot.in/2013/05/see-httpbharatkalyan97.html See examples of Sumer Samarra bowls: http://bharatkalyan97.blogspot.in/2013/04/bronze-age-writing-in-ancient-near-east.html
Composite animals of Indus Script corpora are hypertexts. The cipher of the ancient writing system of Indus Script dated to ca. 3300 BCE is structured to function at two levels: 1. mlecchita vikalpa, 'alternative representation of message by mleccha 'copper' workers, 'weapons makers'; and 2.vākyapadīya, 'sentences composed of words to convey meaning'. mlecchita vikapa is characterized by indistinct speech and incorrect, ungrammatical pronunciations, i.e. vernacula, parole. This expression is used by Vātsyāyana to refer to a cipher writing system as one of the 64 arts to be learnt by youth. See: https://en.wikipedia.org/wiki/Mlecchita_vikalpa vākyapadīya is meaning conveyed through a sentence composed of pada, 'sign, token, characteristic, word'. भर्तृहरि Bhartṛhari is author of the work, Vākyapadīya, 'treatise on words and sentences.' "The work is divided into three books, the Brahma-kāṇḍa, (or Āgama-samuccaya "aggregation of traditions"), the Vākya-kāṇḍa, and the Pada-kāṇḍa (or Prakīrṇaka "miscellaneous"). He theorized the act of speech as being made up of three stages: 1. Conceptualization by the speaker (Paśyantī "idea") 2. Performance of speaking (Madhyamā "medium") 3. Comprehension by the interpreter (Vaikharī "complete utterance"). Bhartṛhari is of the śabda-advaita "speech monistic" school which identifies language and cognition. According to George Cardona, "Vākyapadīya is considered to be the major Indian work of its time on grammar, semantics and philosophy." https://en.wikipedia.org/wiki/Spho%E1%B9%ADa The work is on Sanskrit grammar and linguistic philosophy, is a foundational text in the Indian grammatical tradition, explaining numerous theories related to vāk, 'speech' and sphoṭa 'sound of language'. He identifies varṇasphoṭa, padasphoṭa and vākyasphoṭa 'syllable speech sound', 'word speech sound' and 'sentence speech sound'. Meaning is determined when the full sentence is uttered and heard. https://en.wikipedia.org/wiki/Bhart%E1%B9%9Bhari Good examples of these two components of Indus Script cipher -- mlecchita vikalpa and vākyapadīya are Indus Script hypertexts formed as 'composite animals'. The scribe who created these hypertexts signifies vākyasphoṭa 'sentence speech sound' of Mleccha/Meluhha speech which is cognate with literary Samskrtam or Chandas expressions. A truly fascinating paper by Dennys Frenez and Massimo Vidale on composite Indus creatures and their meaning: Harappa Chimaeras as 'Symbolic Hypertexts'. Some Thoughts on Plato, Chimaera and the Indus Civilization at a.harappa.com/... Hypertext includes the following hieroglyphs rendered rebus and read as vākyapadīya, sentence composed of words : The deciphered text is: metal ingots manufactory & trade of magnetite, ferrite ore, metals mint with portable furnace, iron ores, gold, smelters' guild. The Meluhha rebus words and meanings are given below. सांगड sāṅgaḍa f A body formed of two or more (fruits, animals, men) linked or joined together. Rebus: sangara 'trade' 1. zebu पोळ [ pōḷa ] 'zebu, bos indicus' rebus: पोळ [ pōḷa ] 'magnetite, ferrite ore' 2. human face mũhe ‘face’ (Santali) ; rebus:mũh metal ingot 3. penance kamaḍha 'penance' (Prakrit) kamaḍha, kamaṭha, kamaḍhaka, kamaḍhaga, kamaḍhaya = a type of penance (Prakrit) Rebus: kamaṭamu, kammaṭamu = a portable furnace for melting precious metals; kammaṭīḍu = a goldsmith, a silversmith (Telugu) kãpṛauṭ jeweller's crucible made of rags and clay (Bi.); kampaṭṭam coinage, coin, mint (Tamil) 4. elephant karabha, ibha 'elephant' rebus: karba, ib 'iron' ibbo 'merchant' kharva 'a nidhi of nine treasures of Kubera' 5. markhor miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Mu.) Allograph: meḍ ‘body ' (Mu.) 6. young bull kondh ‘young bull’ rebus: kũdār ‘turner, brass-worker, engraver (writer)’ kundana 'fine gold' 7. tiger kul 'tiger' (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.)Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H.kolhā, °lā m. ʻ jackal ʼ Rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' kole.l 'smithy, forge' kole.l 'temple' 8. Cobra hood phaḍa 'throne, hood of cobra' rebus: फड, phaḍa 'metalwork artisan guild in charge of manufactory' This hieroglyph on Seal m1179 is a determinative that the message conveyed by 'composite animals' is that the locus is kole.l 'temple/' rebus: kole.l 'smithy, forge'.
Were tigers, rhinoceroses, boars domesticated since feeding troughs are shown on Indus Script inscriptions? Such wild animals were NOT domesticated but were used as hieroglyphs to signify Bronze Age metalwork. This rhetorical question is intended to underscore that the Indus Script cipher is a messaging system with hieroglyphs as signifiers. Both the animals and feeding troughs are hieroglyphs. The signified are Bronze Age metal- or mint-work catalogues documenting the merchandise of seafaring merchants who are also Supercargo -- merchant's representatives responsible for overseeing the cargo and its sale. Feeding trough on m1405 segment. Hieroglyph: pattar 'feeding trough' rebus: pattharika 'merchant' Daimabad seal . Sign 342 Hieroglyph: कर्ण [p= 256,2] the handle or ear of a vessel RV. viii , 72 , 12 S3Br. ix Ka1tyS3r. &c Rebus: कर्ण the helm or rudder of a ship R. कर्णी [p= 257,3] f. of °ण ifc. (e.g. अयस्-क्° and पयस्-क्°) Pa1n2. 8-3 , 46" N. of कंस's mother " , in comp. Rebus: karNI, 'Supercargo responsible for trading cargo of a vessel'. That such a functionary existed in the mature period of Sarasvati-Sindhu civilization is evidenced by a remarkable two-sided tablet (m1405) which shows a pattharika, 'merchant' graduating as a karNI, 'Supercargo functionary' on a seafaring vessel. m1405 Pict-97 Reverse: Person standing at the centre pointing with his right hand at a bison facing a trough, and with his left hand pointing to the Sign 15. Obverse: A tiger and a rhinoceros in file. The tablet signifies three animals: tiger, rhinoceros, ox: kola 'tiger' rebus: kolhe 'smelter' kol 'working in iron' kolle 'blacksmith' kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. barad, barat 'ox' Rebus: भरत bharata A factitious metal compounded of copper, pewter, tin bel [Hem. Des. ba-i-lī fr. Skt. balīvarda = a bull] a bull; a bullock; an ox (G.lex.) Rebus:bali bica ‘iron sand ore’ (Mu.) pattar 'trough' Rebus pattar, vartaka 'merchant, goldsmith' paṭṭaḍa smithy, shop'. कर्णक kárṇaka, kannā 'legs spread', Rebus kañi-āra 'helmsman' karaṇī 'scribe, supercargo', kañi-āra 'helmsman' eraka 'raised arm' Rebus: eraka 'metal infusion' eraka 'copper' Sign 15: kuṭhi kaṇḍa kanka ‘smelting furnace account (scribe)’. kuTi 'water-carrier' rebus: kuThi 'smelter' kanda 'pot' rebus: kanda 'fire-altar' kanka, karanika 'rim of jar' rebus: kāraṇika 'smelter producer'. Thus the hieroglyph-multiplex is an expression: kuThi kāraṇika 'smelter-maker.' kuTi karaṇī 'Supercargo smelter' (i.e. Supercargo responsible for trading produce from smelter and carried by seafaring vessel). This tablet is a clear and unambiguous example of the fundamental orthographic style of Indus Script inscriptions that: both signs and pictorial motifs are integral components of the message conveyed by the inscriptions. Attempts at 'deciphering' only what is called a 'sign' in the entire Indus Script Corporwill result in an incomplete decoding of the message catalogued on the inscribed object. barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.(Marathi) pattar 'trough'; rebus pattar, vartaka 'merchant, goldsmith' (Tamil) பத்தர்² pattar , n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று. The Pali expression usu -- kāraṇika -- m. ʻ arrow -- maker ʼ provides the semantics of the word kāraṇika as relatable to a 'maker' of a product. usu-kāraṇika is an arrow-maker. Thus, kuTi kāraṇika can be explained as a smelter-maker. Supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale. The Marathi word for Supercargo is: kārṇī . Thus, it can be suggested that kuTi kāraṇika was an ovrseer of the cargo (from smelter) on a merchantship. In the historical periods, the Supercargo has specific duties "The duties of a supercargo are defined by admiralty law and include managing the cargo owner's trade, selling the merchandise inports to which the vessel is sailing, and buying and receiving goods to be carried on the return voyage...A new supercargo was always appointed for each journey who also had to keep books, notes and ledgers about everything that happened during the voyage and trade matters abroad. He was to present these immediately to the directors of the Company on the ship's return to its headquarters ." https://en.wikipedia.org/wiki/Supercargo While a captain was in charge of navigation, Supercargo was in charge of trade. कारण 1[p= 274,2] a number of scribes or कायस्थs W. instrument , means;that on which an opinion or judgment is founded (a sin, mark; a proof; a legal instrument, document), Mn. MBh. कारणिक [p= 274,3] mfn. (g. काश्य्-ादि) " investigating , ascertaining the cause " , a judge Pan5cat. a teacher MBh. ii , 167. B. kerā ʻ clerk ʼ (kerāni ʻ id. ʼ < *kīraka -- karaṇika<-> ODBL 540): very doubtful. -- Poss. ← Ar. qāri', pl. qurrā' ʻ reader, esp. of Qur'ān ʼ.(CDIAL 3110) कर्णक kárṇaka, kannā 'legs spread', 'rim of jar', 'pericarp of lotus' karaṇī 'scribe, supercargo', kañi-āra 'helmsman'. kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ] Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.(CDIAL 3058) kāraṇa n. ʻ cause ʼ KātyŚr. [√kr̥1] Pa. kāraṇa -- n. ʻ deed, cause ʼ; Aś. shah. karaṇa -- , kāl. top. kālana -- , gir. kāraṇa -- ʻ purpose ʼ; Pk. kāraṇa -- n. ʻ cause, means ʼ; Wg. (Lumsden) "kurren" ʻ retaliation ʼ, Paš. kāran IIFL iii 3, 97 with (?); S. kāraṇu m. ʻ cause ʼ; L. kārnā m. ʻ quarrel ʼ; P. kāraṇ m. ʻ cause ʼ, N. A. B. kāran, Or. kāraṇa; Mth. kāran ʻ reason ʼ, OAw. kārana, H. kāran m., G. kāraṇ n.; Si. karuṇa ʻ cause, object, thing ʼ; -- postpositions from oblique cases: inst.: S. kāraṇi, kāṇe, °ṇi ʻ on account of ʼ, L. awāṇ. kāṇ, Addenda: kāraṇa -- : Brj. kāran ʻ on account of ʼ.(CDIAL 3057) kiraka m. ʻ scribe ʼ lex. eraka 'raised arm' Rebus: eraka 'metal infusion' (Kannada. Tulu) Sign 15: kuṭhi kaṇḍa kanka ‘smelting furnace account (scribe)’. Thus, the hieroglyph multiplex on m1405 is read rebus from r.: kuṭhi kaṇḍa kanka eraka bharata pattar'goldsmith-merchant guild -- helmsman, smelting furnace account (scribe), molten cast metal infusion, alloy of copper, pewter, tin.' Indus inscription on a Mohenjo-daro tablet (m1405) including ‘rim-of-jar’ glyph as component of a ligatured glyph (Sign 15 Mahadevan) It will be demonstrated in this monograph that this inscribed object is decoded as a professional calling card: a blacksmith-precious-stone-merchant with the professional role of copper-miner-smelter-furnace-scribe-Supecargo m1405At Pict-97: Person standing at the center points with his right hand at a bison facing a trough, and with his left hand points to the ligatured glyph. The inscription on the tablet juxtaposes – through the hand gestures of a person - a ‘trough’ gestured with the right hand; a ligatured glyph composed of ‘rim-of-jar’ glyph and ‘water-carrier’ glyph (Sign 15) gestured with the left hand. A characteristic feature of Indus writing system unravels from this example: what is orthographically constructed as a pictorial motif can also be deployed as a 'sign' on texts of inscriptions. This is achieved by a stylized reconstruction of the pictorial motif as a 'sign' which occurs with notable frequency on Indus Script Corpora -- with orthographic variants (Signs 12, 13, 14). Signs 12 to 15. Indus script: Indus inscription on a Mohenjo-daro tablet (m1405) including ‘rim-of-jar’ glyph as component of a ligatured glyph (Sign 15 Mahadevan)This tablet is a clear and unambiguous example of the fundamental orthographic style of Indus Script inscriptions that: both signs and pictorial motifs are integral components of the message conveyed by the inscriptions. Attempts at ‘deciphering’ only what is called a ‘sign’ in Parpola or Mahadevan corpuses will result in an incomplete decoding of the complete message of the inscribed object. This inscribed object is decoded as a professional catalogue calling card: a blacksmith-precious-stone-merchant with the professional role of copper-miner-smelter-furnace-scribe-Supercargo. The inscription on the tablet juxtaposes – through the hand gestures of a person - a ‘trough’ gestured with the right hand; a ligatured glyph composed of ‘rim-of-jar’ glyph and ‘water-carrier’ glyph (Glyph 15) gestured with the left hand. Water-carrier glyph kuṭi ‘water-carrier’ (Telugu); Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛI f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) [The bull is shown in front of the trough for drinking; hence the semantics of ‘drinking’.] The most frequently occurring glyph -- rim of jar -- ligatured to Glyph 12 becomes Glyph 15 and is thus explained as a kanka, karṇaka: ‘furnace scribe’ and is consistent with the readings of glyphs which occur together with this glyph. Kan-ka may denote an artisan working with copper, kaṉ (Ta.) kaṉṉār ‘coppersmiths, blacksmiths’ (Ta.) Thus, the phrase kaṇḍ karṇaka may be decoded rebus as a brassworker, scribe. karṇaka, karNIka ‘scribe, accountant’.karNi 'supercargo'
Indus Script hieroglyphs with 3 heads -- Tuisto, Father of Germanic people, tatara 'smelter' (Japanese) ṭhaṭherā 'brassworker' (Sindhi) Kubera ~Triśiras, son of Tvaṣţā Tuisto, Father of Germanic people (ca. 1st cent. BCE), is seen in the tradition of ṭhaṭherā 'brassworker' of Indus Script Corpora (ca. 3500 to 1900 BCE). Triśiras 'three heads' is a Rigveda metaphor linked to Tvaṣţā, the divine artificerr. Calling Triśiras a son of Tvaṣţā may be a metaphorical expression connoting the continuity of Rigveda artificer tradition. Triśiras as a hieroglyph-multiplex (hypertext) is deciphered as metalwork of Sarasvati - Sindhu civilization. The evidence from Indus Script Corpora for such hieroglyph-multiplexes are presented in this monograph.; The spread of Tvaṣţā tradition to Germanic people is seen in the commemoration of Tuisto as the Father of Germanic people. A sculptural evidence for Tuisto comes from a frieze on Pilier des Nautes (Pillar of Boatmen), dated to ca. 1st cent BCE. Intimations of this abiding cultural memory is seen on two artifacts: 1. A Mohenjo-daro seal m0304 with Indus Script with a three-headed person seated in penance surrounded by animals and 2. Tuisto, Father of Germanic people, seated in penance on Pilier des Nautes (Pillar of Boatmen). Together with the octagonal brick (yupa) found in Binjor yajna kunda, this evidence traced from historical narratives of Tuisto to the metaphor of Rigveda, the Indus Script Corpora are a Vedic cultural continuum. It has been demonstrated by the deciphered that the three-headed person on Seal m0304 was ṭhaṭherā 'brassworker'. This reference to ṭhaṭherā 'brassworker' is traceable to the etyma flowing in the Meluhha metalwork lexis of Indus Script Corpora (ca. 3500 to 1900 BCE) from Tvaṣţā, of Rigveda (of indeterminate date, perhaps earlier than 7th millennium BCE, given the Bhirrana chronology) and is seen as a continuum in the 1 CE evidence of Tuisto, on Pilier des Nautes (Pillar of Boatmen). Triśiras 'three heads' of person seated in penance Seal m0304 Tuisto (See Section3 for citations) seated in penance posture on Pilier des Nautes (Pillar of Boatmen) is comparable to the narrative of Tvaṣţā.of Rigveda (See Section 2 for ancient literature). Kubera ~Triśiras,son of Tvaṣţā.of Rigveda is identified in Indus Script hieroglyph of an animal with 3 heads.
--Indus Script fish, turtle, boar hieroglyphs ayas 'alloy', kãsā kammaṭa 'bronze mint', bārakaśa 'seafaring vessel' with bronze supercargo of minerals, castings and ingots. Viewed as 3 milestones of advances during Bronze Age revolution, parallels are seen in the narrative of first 3 avatāra (matsya, kamaṭha, Varāh) signified by the hieroglyphs n Indus Script: ayo khambhaṛā 'fish-fin', kassa kamaṭha 'turtle', barāha 'boar'. (Note: Reference to kūrmá in ancient texts is related to the semantics of kum, roof-like shell: kūrmá1 m. ʻ tortoise ʼ VS., °mī -- , °mā -- f. MBh. [Cf. *kūrma -- 2?]Pa. kumma -- m. (usu. with kacchapa -- ) ʻ tortoise ʼ, Pk. kumma -- m., °mī -- f., K. krum, krümü, kṳ̄rm m., krumiñü f.; S. kumī f. ʻ tortoise, turtle ʼ; L. kummã̄ m., °mī f., kaṛ -- kummā m. ʻ tortoise ʼ, (Shahpur) kar -- kummā m. ʻ turtle ʼ (kaṛ -- , kar -- ?); P. kummã̄, °mī˜ f. ʻ tortoise, turtle ʼ; Si. kumu ʻ tortoise ʼ.(CDIAL 3414)*kūrma2 ʻ roof ʼ. 2. *kaurma -- . [Poss. same as kūrmá -- 1, kaurma -- ʻ appertaining to a tortoise, *like a tortoise shell ʼ?]1. A. kum ʻ portion of a roof midway between ridgepole and eaves ʼ.2. Ash. klōm ʻ roof ʼ, Kt. křum; -- Kho. krəm ʻ back ʼ NTS ii 262 with (?): see *kamra -- ; -- Paš. *krōnd -- IIFL iii 3, 111(< *kū/aurmānta -- ?) in lauṛ. lūnd ʻ roof ʼ, gul. kundūr, lagh.ṣōnd, nir. lūn, kuṛ. lēn, ar. plen, obl. plendə.(CDIAL 3415)] (A note on the significance of Daśāvatāra in Hindu tradition is embedded). It is reasonable to interpret this narrative as advances in civilization with the new technological inventions from chalocolithic to bronze age. The ten incarnations of the Supreme Divinity can be seen as pilgrims' progress in defining atman's relationship with the parmatman and the cosmic dance of phenomena exemplified by the sustainable use of natural resources of the earth and the ocean. This is the quintessence of the Samudra Manthanam narrative, recognizable in the deciphered metalwork catalogues of Indus Script Corpora. This message is stated in adhyatmika expressions in Varaha Upanishad of Krishna Yajur Veda. See: http://bharatkalyan97.blogspot.in/2011/07/varaha.html The supreme enjoyer of all sacrifices accepted the incarnation of a boar for the welfare of the earth. He lifted the earth from the nether regions of the universe. (Srimad Bhagavatam 1.3.7) When the unlimitedly powerful Lord assumed the form of a boar as a pastime, just to lift the planet earth which was drowned in the great ocean of the universe called Garbhodaka, the first demon (Hiranyaksa) appeared and the Lord pierced him with the tusk. (Srimad Bhagavatam 2.7.1) oḍ m. ʻ a caste of Hindus who dig and carry earth and build mud houses ʼ(Gujarati)(CDIAL 2549).This etymon is relatable to baḍhi,bāṛaï 'carpenter', baṛea 'worker in wood and iron; merchant' signified by the hieroglyph: baḍhia,বরাহ barāha 'boar', In Telugu, the pronunciation variant is వడ్రంగి, వడ్లంగి, వడ్లవాడు (p. 1133) [ vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu ] or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. Cf. vardhaki ‘carpenter’ (Samskrtam) The semantics of 'digging' indicate the possibility that baḍhi,bāṛaï was also a miner digging out minerals from the earth and hence the association in the metaphors related to Bhudevi and her rescue from the ocean. m1534b On this copper tablet, the correct identification of the animal heads will be turtle species comparable toMeiolania, a horned large turtle of New Guinea. m1532b On another copper tablet, the emphasis is clearly on the turtle's shell like that of Meiolania's shell. The hieroglyph multiplex on m1534b is now read rebus as: dula 'pair' rebus: dul 'cast metal' PLUS kassa 'turtle' rebus: kãsā 'bell-metal' kamaṭha 'turtle' rebus: kãsā kammaṭa 'bell-metal coiner, mint, portable furnace'. Pictorial motif 69 (Mahadevan concordance). Tortoise. See: http://bharatkalyan97.blogspot.in/2016/04/seafaring-merchants-indus-script_22.html baḍhia,বরাহ barāha 'boar', baḍhi,bāṛaï 'carpenter' बारकस bārakaśa 'merchantman' pāṟu 'sailing ship' The suffix -kaśa in the expression bārakaśa is semantically cognate with kāsa ʻ moving ʼ Pāṇ. [√kas] S. kāha f. ʻ rush ʼ, kāho m. ʻ driver, persecutor ʼ(CDIAL 3134) The suffix also relates rebus to: kãsā 'bell-metal' (Oriya), thus bārakaśa can also be explained as a bronze-bearing sailing ship or bronze merchantman. kaṁsá1 m. ʻ metal cup ʼ AV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kaṁsikā -- .1. Pa. kaṁsa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. kã̄h ʻ gong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= kã̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. kã̄sā m. pl. ʻ cymbals ʼ; -- perh. Woṭ. kasṓṭ m. ʻ metal pot ʼ Buddruss Woṭ 109.2. Pk. kaṁsiā -- f. ʻ a kind of musical instrument ʼ; K. k&ebrevdotdot;nzü f. ʻ clay or copper pot ʼ; A. kã̄hi ʻ bell -- metal dish ʼ; G. kã̄śī f. ʻ bell -- metal cymbal ʼ, kã̄śiyɔ m. ʻ open bellmetal pan ʼ. kāˊṁsya -- ; -- *kaṁsāvatī -- ?Addenda: kaṁsá -- 1: A. kã̄h also ʻ gong ʼ or < kāˊṁsya -- .(CDIAL 2576)
Indus Script Corpora are catalogues of metalwork duty signifiers.Indus Script hieroglyphs are धम्म र्संज्ञा dhamma saṁjñā 'duty signifiers'. Examples are provided in Kernunno and cognate inscriptions. kaṇṭhlā 'neck ring', kãṭhāḷ ʻmaritimeʼ. heritage, त्रि--शिरस् three-pointed triskele, three-headed as in कर्णिक 'a steersman' कारणी or कारणीक. prime minster, supercargo of a ship' on m0304 seal. Kernunnos from a Gallic temple & Gallic Village 2200 years ago, of Acy-Romance north of Rheims. सञ्ज्ञा, स्त्री, (सं + ज्ञा + अङ् ।) संज्ञा । इति मेदिनी ॥सञ्ज्ञुः, त्रि, (संहते जानुनी यस्य । “प्रसंभ्यां जानुनोर्ज्ञुः ।” ५ । ४ । १२९ । इति ज्ञुः ।) संज्ञुः । इत्यमरः ॥ https://sa.wikisource.org/wikशब्दकल्पद्रुमः/सङ्गवः See also three heads on the person seated in penance on Mohenjo-daro seal m0304. dharmḥsaṁjñā धर्मसंज्ञुः saṁjñā ‘having the sense of duty, the sense of duty’ (MBh.) saṁjñāˊ 12874 saṁjñāˊ f. ʻ agreement, understanding ʼ ŚBr., ʻ sign ʼ MBh. [√jñā]Pa. saññā -- f. ʻ sense, sign ʼ, Pk. saṁṇā -- f.; S. sañaṇu ʻ to point out ʼ; WPah.jaun. sān ʻ sign ʼ, Ku. sān f., N. sān; B. sān ʻ understanding, feeling, gesture ʼ; H. sān f. ʻ sign, token, trace ʼ; G. sān f. ʻ sense, understanding, sign, hint ʼ; M. sã̄j̈ f. ʻ rule to make an offering to the spirits out of the new corn before eating it, faithfulness of the ground to yield its usual crop ʼ, sã̄jẽ n. ʻ vow,promise ʼ; Si. sana, ha° ʻ sign ʼ; -- P. H. sain f. ʻ sign, gesture ʼ (in mng. ʻ signature ʼ ← Eng. sign), G. sen f. are obscure.hastasaṁjñā -- .Addenda: saṁjñā -- : WPah.J. sā'n f. ʻ symbol, sign ʼ; kṭg. sánku m. ʻ hint, wink, coquetry ʼ, H. sankī f. ʻ wink ʼ, sankārnā ʻ to hint, nod, wink ʼ Him.I 209.(CDIAL 12874) Pali attests semantics of: dhamma saññā righteous thought, faith, piety PvA 3. See the peg on Nahal Mishmar crown. The śaṅkú, 'peg' is a saṁjña 'hieoglyph' semantics: '(duty) signifier' (in this case, cire perdue metalwork) as in dharmḥsaṁjñā 'duty signifiers'. PLUS káraṇḍa1 m.n. ʻ basket ʼ BhP., °ḍaka -- m., °ḍī -- f. lex. Pa. karaṇḍa -- m.n., °aka -- m. ʻ wickerwork box ʼ, Pk. karaṁḍa -- , °aya -- m. ʻ basket ʼ, °ḍī -- , °ḍiyā -- f. ʻ small do. ʼ; K. kranḍa m. ʻ large covered trunk ʼ, kronḍu m. ʻ basket of withies for grain ʼ, krünḍü f. ʻ large basket of withies ʼ; Ku. kaṇḍo ʻ basket ʼ; N. kaṇḍi ʻ basket -- like conveyance ʼ; A. karṇi ʻ open clothes basket ʼ; H. kaṇḍī f. ʻ long deep basket ʼ; G. karãḍɔ m. ʻ wicker or metal box ʼ, kãḍiyɔ m. ʻ cane or bamboo box ʼ; M. karãḍ m. ʻ bamboo basket ʼ, °ḍā m. ʻ covered bamboo basket, metal box ʼ, °ḍī f. ʻ small do. ʼ; Si. karan̆ḍuva ʻ small box or casket ʼ. -- Deriv. G. kãḍī m. ʻ snake -- charmer who carries his snakes in a wicker basket ʼ.karaṇḍa -- 2 ʻ duck ʼ see karaṭa -- 1, kāraṇḍava -- .(CDIAL 2792) rebus: karaDa 'hard alloy'
--Evidenced by Veda, śilpa, archaeology, Indus Script, āgama, numismatics, arhaeometallurgy, navanidhi Navanidhi, wealth-creation activities by artisans and workers of the Bronze Age Bhāratam are founded on the ādhyāmikā order of dharma: ಕಾಯಕವೇ ಕೈಲಾಸ (Basava) Bronze Age is characterised by the identification of nine dhātu elements, or minerls. Carbon as an element was also recognized by describing Śiva as अङ्गारक. Ekamukha linga, Bhūmāra, Madhya Pradesh. Three categories of ferrite ores -- magnetite, haematite, laterite -- were also recognized by describing Gaṇeśa as tri-dhātu. अङ्गारक, 'carbon' was a primary element which explained the hardening of metals to create hard alloys of utilitarian value. This element carbon a significant component of wealth-creation using minerals (products of earth -- earth and stones)--was perceived as aṣṭāśri yūpa eight-fold forms of śrī or wealth topped by a caṣāla. caṣāla, the ring atop the yūpa is orthographed as caṣāla, snout of a boar, carrying bhūdevi, mother Earth, and hence the veneration of varāha as signifier of all yajña-s and hence of the Veda tradition. The action of carbon in hardening minerals and metal alloys is orthographed as a cosmic dance, tāṇḍava nr̥tyam of Maheśvara integrating three forms: viṣṇu bhāga (quadrangular to signify vedi, fire-altar), rudra bhāga (octagonal to signify aṣṭāśri 'eight forms of wealth'), and brahma bhāga (adorned with caṣāla to signify the ninth creative process of infusing of rasa, carbon into minerals through the medium of fire of the furnace or smelter), thus creating nava-nidhi, nine wealths or treasures. This process evolves as rasa-vāda, 'science of alchemy, chemistry'. The combined form of viṣṇu bhāga rudra bhāga brahma bhāga is brilliantly iconographed in Airāvateśvara: Brahma as hamsa looks for the end of the fiery pillar in heavens, viṣṇu as varāha looks for the roots in the earth, of the fiery pillar, as Maheśvara emerges out of the Rudra bhāga. This ādhyātmikā expression in iconography is unparalleled brilliant representation in a joint enterprise by an artisan, śilpi, and a Brāhmaṇa expounding the Veda Indications of this thought-process creating iconic forms out of aniconic octagonal rudra bhāga the iconography of Śiva linga combines signifiers of all three divine entities: brahma, Śiva and Viṣṇu Combination of iconic form of mukha 'face' and jaṭā signifying caṣāla,'wheat chaff' provide the added rebus renderings in a Śiva linga with personification of mukha 'face' rebus: mũh 'ingot, quantity of metal taken out of a furnace'. This evolution of iconic form attains the pinnacle of ādhyātmikā expression in the form of the cosmic dancer. (Naṭarāja carries अङ्गारक, 'carbon' on his left arm, as his fiery locks of hair flow like godhūma, 'wheat chaff' caṣāla). navan नवन् num. a. (always pl.). Nine; नवतिं नवाधिकाम् R.3.69; see comp. below. (At the begining of comp. नवन् drops its final न्). -Comp. -ग्रहाः m. (pl.) the nine planets. (the sun, the moon, 5 planets, राहु and केतु; see under ग्रह. -चण्डिका f. the nine चण्डिकाs (शैलपुत्री, ब्रह्मचारिणी, चन्द्रघण्टा, कूष्माण्डा, स्कन्द- माता, कात्यायनी, महागौरी, कालरात्रि, सिद्धिदा); Chaṇḍī Pāṭha. -दुर्गा Durgā in her nine forms. i. e. (कुमारिका, त्रिमूर्ति, कल्याणी, रोहिणी, काली, चण्डिका, शांभवी, दुर्गा, भद्रा). -धातु m. Nine metals; हेमतारारनागाश्च ताम्ररङ्गे च तीक्ष्णकम् । कांस्यकं कान्तलोहं च धातवो नव कीर्तिताः ॥, -निधि m. (pl.) the nine treasures of Kubera. i. e. महापद्मश्च पद्मश्च शङ्खो मकरकच्छपौ । मुकुन्दकुन्द- नीलाश्च खर्वश्च निधयो नव ॥ (Apte. Samskrtam) धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3.; constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf. त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c; Rebus: element , primitive matter (= महा-भूत L. ) MBh. Hariv. &c (usually reckoned as 5 , viz. ख or आकाश , अनिल , तेजस् , जल , भू; to which is added ब्रह्म Ya1jn5. iii , 145 ; or विज्ञान Buddh. ); primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e.grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]). ... Links in Archaeology and Iconography/Numismatics 1. Discovery of octagonal yupa in Binjor, Śivalinga-s in Harappa 2. Sri Rama (Vishnu) blowing a conch 3. Sri Krishna and Sri Balarama on ancient coins cf. https://www.academia.edu/25807197/Emergence_of_Vi%E1%B9%A3%E1%B9%87u_and_%C5%9Aiva_Images_in_India_Numismatic_and_Sculptural_Evidence Emergence of Viṣṇu and Śiva Images in India: Numismatic and Sculptural Evidence by Osmund Bopearachchi (2016) Vishnu on Garuda, 5th century. Red terracotta, 12 1/4 x 14 3/4 x 7 1/2 in. (31.1 x 37.5 x 19.1 cm). Brooklyn Museum This terracotta panel once decorated the exterior of a brick temple. It shows Vishnu riding Garuda into battle, blowing his conch and holding what appears to be an archer’s bow. Even in its current condition, the relief captures the dynamism of the scene. Garuda has been represented in a kind of shorthand, with just a head and wings. The identity of the smaller figure—also apparently riding on Garuda and preparing to shoot an arrow—remains unclear. MEDIUM Red terracotta • Place Made: Northern, Uttar Pradesh, India DATES 5th century PERIOD Gupta Period DIMENSIONS 12 1/4 x 14 3/4 x 7 1/2 in. (31.1 x 37.5 x 19.1 cm) ACCESSION NUMBER 73.124 https://www.brooklynmuseum.org/opencollection/objects/3830 Vishnu’s fight with the Rakshasas led by Malyavaan, Maali and Sumaali narrated in Uttarakanda of Ramayana (Canto VI-VIII). Terracotta panel from Bhitargaon.Shows a Ramayana scene. The terracotta plaque reproduced above is now housed in the Brooklyn Museum, U.S.A. On stylistic grounds it can be ascribed to the fifth century and & also be presumed to have originally belonged to the brick temple of Bhitargaon, Kanpur District, Uttar Pradesh. The plaque has been described by Dr. Army Poster (Figures in Clays from Ancient India, No. 52, Brooklyn, 1973) and by Dr. Pratapaditya Pal (The Ideal Image: The Gupta Sculptural Tradition and Its Influence, Fig. 28, p.81, the Asiatic Society, Inc. 1978). Cf. P Banerjee http://ignca.nic.in/pb0020.htm Narration as follows: [quote] There was a powerful Rakshasa, called Sukesa, who was a great favourite of Siva. Sukesa had three sons called Malyavan, Mali and Sumali. Proud of the boons they received from Brahma and Siva, they became insolent and began to harass the gods. To seek redress, the latter came to Siva and sought his refuge. Because of his soft feelings towards Sukesa, Siva expressed his inability to take any stern action against his (Sukesa’s) sons and directed them (the gods) to go to Vishnu to seek his protection. The gods, as directed by Siva, came to Vishnu eulogised his greatness and sought his protection against the atrocities of Malayavan, Mali and Sumali and their Rakshasa followers. Vishnu, pleased with the prayers of the gods, assured them that he would soon make short work of the Rakshasas. The gods then left for their respective abodes. Having come to know of Vishnu’s assurance to the gods, Malyavan, Mali and Sumali flew into rage and summoned their forces to attack the gods. The Rakshasa troops moved under Mali’s leadership. Informed of the movement of the Rakshasas, Vishnu also became ready to fight with them. He put on his celestial armour shining like the sun, equipped him-self with a pair of quivers full of arrows and also his other weapons, the conch, the discus, the mace, the sarnga bow and the sword. And then mounting on his beautifully feathered vehicle, the Garuda, he set out to destroy the Rakshasas. A grim battle ensued between Vishnu and the Rakshasas. With the blast of his wings, Garuda shook the army of the ogres, brought down their banners and displaced their weapons. The Rakshasas in their hundreds surrounded Narayana-Vishnu and afflicted him with volleys of missiles. To foil their efforts, Vishnu discharged sharp arrows on them from his Sarnga bow whose strings he pulled to the extreme length. Dispersing the Rakshasas by his arrows, Vishnu blew his great conch Panchajanya, the sound of which shook the three worlds and struck terror into the heart of the Rakshasas. Pierced by Vishnu’s darts, the Rakshasas fell in hundreds and thousands on the battlefield. The sound of the Panchajanya and the twang of his bow drowned the cries of the Rakshasas. At the end, Vishnu cut off the head of Mali with his chakra. Seized with fear, Malyavan and Sumali, with the remnants of their forces fled towards Lanka. ... Links in Archaeology and Iconography/Numismatics 1. Discovery of octagonal yupa in Binjor, Śivalinga-s in Harappa 2. Sri Rama (Vishnu) blowing a conch 3. Sri Krishna and Sri Balarama on ancient coins cf. https://www.academia.edu/25807197/Emergence_of_Vi%E1%B9%A3%E1%B9%87u_and_%C5%9Aiva_Images_in_India_Numismatic_and_Sculptural_Evidence Emergence of Viṣṇu and Śiva Images in India: Numismatic and Sculptural Evidence by Osmund Bopearachchi (2016)
• Dharma saṁjñā Corporate responsibility badges • Evidence from Indus Script Corpora: ox-hide ingots of tin, copper & implements; Maritime Tin Route from Hanoi (Vietnam) to Haifa (Israel) • kole.l ‘temple’ kole.l ‘smithy’ • What next? Opens up need for language, glaciology, archaeo-metallurgy studies, exploration of 2000 sites on Sarasvati river basin, teachers should narrate history of Bharatam Janam to every Bharatiya as River Sarasvati is reborn Terracotta seal and faience tablets: Bronze Age Revolution also created an Age of Symbols, a writing system for data archiving in support of 1. long-distance trade by seafaring merchants; 2. dissemination of knowledge systems; and 3. śrḗṇi or guild, a corporate form to create Bronze Age products of utility value and exchange value. Rebus method of picture-writing Nar-mer palette (64 cm x 42 cm) in Egyptian Museum, Cairo. The name of King Nar-mer (c. 3100 BCE) is written with pictures which signify sounds of words: N’r and M’r Indus Script uses the same Rebus method NOT to signify personal names but metalwork catalogue words (data archives – technical specifications of cargo for shipment) such as: mint, smelter, furnace, blacksmith, brass-worker, axe, zinc, copper, iron, ore, alloy, metal casting. Two hieroglyhs inscription of c. 3100 BCE renders name of King Narmer with pictures of 'catfish’ (Egyptian n'r) and 'awl' (Egyptian m'r). Detail of Narmer's palette. (After Finders Petrie, WM, 1953, Ceremonial slate palettes (British School of Egyptian Archaeology, vol. 66A), London:K26) Talipot palm Corypha umbraculifera Species of palm native to eastern and southern India and Sri Lanka. It is also grown n Cambodia, Myanmar, China, Thailand and the Andaman Islands Grus Virgo or Numidian or Demoiselle Crane The Demoiselle Crane breeds in C Eurasia, from Black Sea to Mongolia and NE China. It winters in Indian Subcontinent and in Sub-Saharan Africa. http://www.oiseaux-birds.com/card-demoiselle-crane.html kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1] Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) करढोंक or की (p. 78) karaḍhōṅka or kī m करडोक m A kind of crane or heron (Marathi) kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1] Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) करढोंक or की (p. 78) karaḍhōṅka or kī m करडोक m A kind of crane or heron (Marathi) *tāḍa3 ʻ fan -- palm ʼ, tāḍī -- 2 f. in tāḍī -- puṭa -- ʻ palm -- leaf ʼ Kād., tāla -- 2 m. ʻ Borassus flabelliformis ʼ Mn., tālī -- , °lakī -- f. ʻ palm -- wine ʼ W. [Cf. hintāla -- ]Pa. tāla -- m. ʻ fan -- palm ʼ, Pk. tāḍa -- , tāla -- , tala -- m., tāḍī -- , tālī -- f., K. tāl m., P. tāṛ m., N. tār (tāṛ ← H.), A. tāl, B. tāṛ, Or. tāṛa, tāṛi, tāḷa, Bi. tār,tāṛ, OAw. Tāra, HG. tāṛ . m., M. tāḍ m., Si. tala. -- Gy. gr. taró m., tarí f. ʻ rum ʼ, rum. tari ʻ brandy ʼ, pal. tar ʻ date -- spirit ʼ; S. tāṛī f. ʻ juice of the palmyra ʼ; P. tāṛī ʻ the fermented juice ʼ; N. tāṛī ʻ id., yeast ʼ (← H.); A. tāri ʻ the fermented juice ʼ, B. Or. tāṛi, Bi. tārī, tāṛī, Bhoj. tāṛī; H. tāṛī f. ʻ the juice, the fermented juice ʼ; G. tāṛī f. ʻ the juice ʼ, M. tāḍī f. <-> X hintāla -- q.v.Addenda: tāḍa -- 3: S.kcch. tāṛ m. ʻ palm tree ʼ. (CDIAL 5750) తాటి (p. 521) tāṭi or తాడి tāṭi. [Tel. Infl. of తాడు.] adj . Belonging to the palmyra tree. తాటి చెట్టు taṭi-cheṭṭu. n. The Palmyra Palm tree. Brab tree, or Fan Palm tree. Borassus flabelliformis (Watts). தாளி³ tāḷi, n. < tāla. 1. Palmyra-palm. See பனை. (சூடா.) 2. Talipot-palm, l. tr., Corypha umbraculifera; கூந்தற்பனைவகை. (பிங். தாளிப்பனை tāḷi-p-paṉai , n. < tālaCorypha umbraculifera; கூந்தற்பனைவகை. தாதப்பனை tāta-p-paṉai, n. [M. tuṭap- pana.] Common Indian fern palm. 3180 a. tār̤ palmyra or toddy palm, Borassus flabelliformis. Tu. tāri, tāḷi id. Te. tāḍu, (inscr., Inscr.2) tār̤u id.; tāṭi of or belonging to the palmyra tree; tāṭi ceṭṭu palmyra tree ; tāṭ-āku palmleaf. Kol. (Kin.) tāṭi māk palmyra tree. Nk. tāṛ māk/śeṭṭ toddy palm. Nk. (Ch.) tāṛ id. Pa. tāṛ id. Ga. (S.3) tāṭi palmyra palm. Go. (G. Ma. Ko.) tāṛ, (S.) tāṛi, (A.) tāḍi toddy palm; (SR.) tādī kal palm liquor (Voc.1709). Konḍa ṭāṛ maran, ṭāṭi maran palmyra tree. Pe. tāṛ mar toddy palm. Kuwi (Su.) tāṭi mārnu, (S.) tāti id. Kur. tāṛ palm tree. Malt. tálmi Borassus flabelliformis. / Cf. Skt. tāla-, Pkt. tāḍa-, tāla-; Turner, CDIAL, no. 5750 (some of the Dr. items may be < IA).tāḷi-p-paṉai , n. < tāla Corypha umbraculifera; கூந்தற்பனைவகை தாழை tāḻai, n. < தாழ்¹-. 1. [K. tāḻe.] Fragrant screw-pine, l. sh., Pandanus odoratissimus; செடிவகை. கமழுந் தாழைக் கானலம் பெருந் துறை (பதிற்றுப். 55). 2. Coconut tree; தென்னை. குலையிறங்கிய கோட்டாழை (புறநா. 17). 3. Spathe of the coconut tree; தெங்கம்பாளை. தாழை தளவ முட்டாட் டாமரை (குறிஞ்சிப். 80).தாளி³ tāḷi , n. < tāla. 1. Palmyra-palm. See பனை. (சூடா.) 2. Talipot-palm, l. tr., Corypha umbraculifera; கூந்தற்பனைவகை. (பிங்.) Talipot palm Rebus 1: தாது¹ tātu, n. < dhātu. 1. Mineral, fossil; any natural product from a mine; கனி களில் உண்டாகும் இயற்கைப் பொருள். 2.Metals; பொன்முதலிய உலோகங்கள். (பிங்.) 3. Red ochre; காவிக்கல். (சூடா.) Rebus 2: தாழி² tāḻi, n. prob. sthālī. 1. [M. tāḻi.] Large pan, pot or vessel with a wide mouth; வாயகன்ற சட்டி. வன்மத்திட வுடைந்து தாழியைப் பாவு தயிர்போற் றளர்நந்தேன் (திருவாச. 24, 6) dhāˊna n. (in cmpds.) ʻ receptacle ʼ RV., dhānī -- f. (in cmpds.) ʻ id. ʼ Kauś., ʻ site of habitation ʼ lex. [√dhā] Pa. dhāna -- n. ʻ receptacle (e.g. of dust, ashes, &c.) ʼ, dhānī -- f. in rāja -- dh° ʻ royal town ʼ; K. dān m. ʻ earthen fireplace ʼ; Ku. dhāṇik ʻ mousetrap ʼ; H.dhānā m. ʻ the portion of a village inhabited by Gonds ʼ (cf. *ḍōmbadhāna -- ). -- Deriv.: N. dhānnu ʻ to support, maintain, manage to do ʼ.(CDIAL 6775) 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) dhā̆vaḍ m. ʻa caste of iron- smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ)(CDIAL 6773). Print of a seal: Two-headed eagle, a twisted cord below. From Bogazköy . 18th c.B.C.E (Museum Ankara). śyēná m. ʻ hawk, falcon, eagle ʼ RV.Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) dula ‘two’ rebus: dul ‘metal Casting’ pajhar ‘kite’ rebus: pasra ‘smithy’ eraka’wing’ rebus: eraka ‘moltencast, copper’ aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. &circmacrepsilon;n (both with n, not ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207) eraka ‘wing’ rebus: eraka ‘moltencast, copper’ eruvai ‘kite’ rebus: eruvai ‘copper’ tri-dhAtu ‘three strands of rope' Rebus: ‘three minerals, metal, ores' Votive plaque of Dudu, high-priest of Ningirsu (reign: Entemena, King of Lagash). Early Dynastic Period III (c. 2450 BCE). Sumer. H. 25 cm W. 23 cm D 8 cm Excavations of Ernest de Sarzec, 1881. Dhokra (Oriya: ଡୋକରା, Bengali: ডোকরা) kamar or gharua of Bankura, Purulia, Midnapore, Burdwan in West Bengal, Malhars of Jharkhand and Sithrias of Orissa and Vis'wakarma of Tamil Nadu and Kerala also use the dhokra technique (lost-wax metal casting)
Ancient data mining techniques of ca. 3rd millennium BCE are demonstrated by hieroglyphic cipher (picture writing) signified on 250 deciphered metal tablets, tools, gold pendant, gold fillets of Sarasvati Civilization, dated to ca. 3rd millennium BCE. All these inscriptions of the Indus Script Corpora are catalogus catalogorum of metalwork -- a veritable data mine for advances in computational and data encryption processes. A parallel is seen in multi-layered metaphors in Vedic texts, for e.g. on Yupa and caSAla which signify smelting processes using wheat chaff for caburizing/pyrolysis to harden metals. The idea of multi-layering is likely to be a key component in further strengthening encryption systems for data security. Data security systems devised by ancient artisans of India could help improve present-day data security systems with tight encryptions of data which are crucial for cyber security. This is a note on ancient data mining systems of Indus writing techniques by metalworkers, Bharatam Janam: with raised script on copper/bronze tablets, incisions on hard surfaces and free-hand writing on metal surfaces with herbal/metallic paint (perhaps ferric oxide pigment). Data mining techniques of computer science widely used in Information Technology and Wi-Fi cellular/mobile communication system of the present day can be paralleled by the techniques demonstrated by artisans who created and used the Indus Script writing system on over 7000 inscriptions of ca. 3rd millennium BCE (5000 years ago). The techniques used on Indus Script could be of value to enhance data security through advanced cipher systems in cryptology, the study of codes, or the art of writing and solving them.. "Data mining is an interdisciplinary subfield of computer science. It is the computational process of discovering patterns in large data sets ("bigdata") involving methods at the intersection of artificial intelligence, machine learning, statistics, and database systems."(1. "Data Mining"ACM SIGKDD. 2006-04-30.2. Clifton, Christopher (2010). Encyclopaedia Britannica; definition of Data Mining. 3.Hastie, Trevor; Tibshirani, Robert; Friedman, Jerome (2009). "The elements of statistical learning: Data mining, inference, and prediction"). Rick Willis and Vasant Shinde hypothesise the possibility that copper plate printing (i.e. transfer of pigment) might also have been used with such writing on metal tablets. http://www.ancient-asia-journal.com/articles/10.5334/aa.12317/ "The principles of printing were perhaps known to Indus Valley artisans through the ancient technique of ajrakh, printing fabric with woodblock designs. It is possible that the copper plates were created firstly to maintain a permanent record of the standard designs on seals and tablets, and furthermore provide a cheap and portable means to distribute standard designs to craftsmen that carved seals in the Indus Valley region. To test this idea, an experimental trial printing was carried out with the plates by Marco Luccio, an artist and master printer based in Melbourne, Australia. Two printing inks were tested: 1) a water-based ink with ferric oxide as the pigment, and 2) an oil-based ink with carbon black. Prints were first trialled with rag paper, but then were printed on tussah silk cloth and parchment, materials which were likely available in the third millennium BC. Almost no organic materials, such as cloth, leather or wood have survived from Indus civilisation, although impressions of woven fabric have been found on terracotta vessels (Kenoyer, J. M. (1998). Ancient cities of the Indus Valley Civilization. Oxford: Oxford University Press. p.159). " Rick Willis and Vasant Shinde demonstrate the printing on tussah silk from a copper template of the types found in Sarasvati-Sindhu Civilization: Simple ferric oxide and carbon black inks print on tussah silk taken from an inscribed copper plate. Demonstration in 2012 (After Fig. 13 in Willis & Shinde, opcit.) One possibility is that such prints from inscriptions on metal were taken on birch-bark documents as demonstrated in ancient epigraphical evidence. This lends credence to the manuscript discussed in a thesis. (Zuberbühler, L. (2009). A comparison of a manuscript with the Indus script. Unpublished Bachelor Thesis In: Department of Linguistics and Literary Studies Institute of Linguistics, University of Bern.) Historical periods also evidence of printing on textiles using such transferance of pigments from templates. Detail of a classic Gujarati patola of double ikat from the early 19th century. LACMA textile collections. Example of Gujarat Ajrak printing. Women from the Khatri community whose ancestors migrated from Sindh, Pakistan to Kutch, Gujarat. Such a khati'spinner' rebus: khati 'wheelwright' is shown on a sculptural frieze in Louvre Museum. Louvre Excerpt Fragment of the bas-relief called "The spinner" Susa Neo-Elamite period Bitumen mastic Remarkable condition H 9.3 cm; L 13 cm Sb 2834 Indus Script Corpora evidences are presented which document metalwork, mintwork, lapidary/turner/joiner work from over 240 copper/bronze tablets, hieroglyphs painted on a gold pendant, incised gold fillet, raised script on gold dick -- all of which signify writing on metal of Indus Script Corpora. The catalogues of metalwork, include repeated references to मृदुकृष्णायसम् soft-iron, rendered in Prakritam phonetic forms as: mẽṛhẽt, meḍ, med (Indian sprachbund and Slavic languages) A decipherment has been posited based on the functions served by the writing system. The functions are to document metalwork, listing resources, lapidary/turner/joiner techniques and metal casting techniques. Devices used are to mirror objects/images with joinings or compositions into hieroglyph-multiplexes. Mirroring of images in the writing system is a device to signify that cire perdue (lost-wax) technique is used for casting metal objects or sculptures. “The 240 copper tablets from Mohenjo-daro are a rare category of Indus objects, because they show a clear interdependence between the inscription on the obverse and the iconographic animal r human-shaped motif on the reverse. Numerous tablets form sets of identical tablets. In some sets, a single sign appears on the reverse instead of an iconographic motif. By comparing tablets having the same inscription on the obverse side but different reverse sides, it is possible to link these single signs with their corresponding iconographic motifs.”(Asko Parpola, 2015, The roots of Hinduism: the early Aryans and the Indus Civilization, OUP, pp.282-283) Parpola proceeds to present such a pair of tablets from two sets C6 with 14 examples and B19 with 7 examples: Variants of the 'crab' hieroglyph (sign). After Fig. 21.14 in Asko Paropla, 2015 opcit. After Fig. 13.13 in: Parpola, Asko, 1994. Deciphering the Indus script. Cambridge: Cambridge University Press., p. 232 After Fig. 21.15 Parpola, 2015 opcit. A ‘pictorial translation’ of an Indus sign: the identical inscriptions on the obverse sides correlate the ‘horned archer’ on the reverse of the type B-19 (there are fourteen identical tablets of this type) and the ‘fig+crab’ sign on the reverse of the type C-6 (there are seven identical tablets of this type) among the copper tablets from Mohenjo-daro. After Asko, 1994. Deciphering the Indus script. Cambridge: Cambridge University Press.,p. 234, fig. 13.13. The hieroglyph-multiplex of fig+crab (shown as Sign 124 Parpola concordance) occurs on other Indus Script inscriptions as shown in the following examples, with variant orthographic renderings of the components: Variants of Sign 124 Parpola concordance. After Fig. 11 in Parpola http://www.thehindu.com/multimedia/archive/00133/_A_Dravidian_Soluti_133901a.pdf Rhinoceros, trough hieroglyphs. Copper tablet type A11: 2 examples Asko Parpola, 2008, Copper tablets from Mohenjo-daro and the study of the Indus script, pp. 132-139 in: Eri Olijdam & Richard H Spoor (eds.), Intercultural relations between south and southwest Asia: Studies in commemoration of ECL During Caspers (1234-1996). BAR Interntional Series 1826. Oxford: Archaeopress. Asko Parpola, 1992, Copper tablets from Mohenjo-daro and the study of the Indus script in: Proceedings of the second international conference on Moenjodaro, ed. IM Nadiem, Karachi. Department of Arhaeology Pande, BM, ‘Inscribed copper tablets from Mohenjo-daro: a preliminary analysis’ in: D. Agrawal/A. Ghosh eds., Radiocarbon and Indian Arcaheology, Bombay 1973, tablet no. 38. See: https://www.academia.edu/737300/A_New_Copper_Tablet_from_Mohenjo-daro_DK_11307_ Paul Yule analyses the stratigraphic and archaeological context of this find. See: 1. Parpola, A. 1992 Copper Tablets from Mohenjo-daro and the study of the Indus Script. In: Proceedings of the Second International Conference on Moenjodaro, edited by I. M. Nadiem, pp. Karachi, Department of Archaeology. 2. Pande, B. M. 1979 Inscribed Copper Tablets from Mohenjo daro: A Preliminary Analysis. In Ancient Cities of the Indus, edited by G. L. Possehl, pp. 268-288. New Delhi, Vikas Publishing House PVT LTD. 3. Pande, B. M. 1991 Inscribed Copper Tablets from Mohenjo-daro: Some Observations.Puratattva (21): 25-28. Brij Mohan Pande had first analysed (1979 and 1991) the importance and significance of copper tablets with unique sets of inscriptions. This contribution is just scintillating and was later (1992) followed up by Asko Parpola identifying 36 groups. The find by HARP recently, of a copper tablet -- and duplicates -- (bas relief with raised script) in Harappa was a stunner, together with 31 and 22 sets of duplicate tablets with identical inscriptions.
Donal B. Buchanan, in a short article, ("A short introduction to the study of the Indus Script with comments on the corner symbols", ESOP, The Epigraphical Society Occasional Papers, Volume 28, pp. 16-21) presents some examples of symbols which appear on 'corners' of inscriptions. The examples he cites include the following examples which include thorn-bush, feeding-trough. See: http://bharatkalyan97.blogspot.in/2016/07/six-unique-hypertexts-of-indus-script.html Further review of the 'feeding-trough' hieroglyph is preseented in this monograph. There are two orthographic variants of this 'feeding-trough' hieroglyph: 'Fe\eding-trough' Variant 1 'Feeding-trough' Variant 2 It may be seen from Variant 2 of the 'feeding-trough' hieroglyph, that an unambiguous signifier 'three stripes' has been ligatured at the bottom of the trough.: Ta. paṭṭai painted stripe Ma. paṭṭa stripe. Ka. paṭṭe, paṭṭi id. Koḍ. paṭṭe striped ;Tu. paṭṭè stripe. Te. paṭṭe stripe or streak of paint; paḍita stripe, streak, wale. (DEDR 3877). A semantic determinant for the 'feeding trough' is another etymon: marāyi (Tulu): Ta. maravai a wooden utensil or bowl. Ma. maravi id. Ka. marage, maragi, marige wooden basin, a sort of bucket; (Gowda) margili a small vessel with handle for serving food. Tu. marāyi trough, bowl (DEDR 4714). It is, therefore, possible that two words were signified by the Variant 2 (with stripes): paṭṭa + mara. Together, the hieroglyph-multiplex or hypertext suggests the rebus rendering: paṭṭamara, 'dhow, seafaring vessel'. Phonetic variants in Indian sprachbund of the dhow are: पतेमारी (p. 276) patēmārī फतेमारी (p. 314) phatēmārī (Marathi). This rebus reading may be an additional layer of the rebus rendering suggested: Tiger, etc. in front of the feeding-trough was deciphered as: Hieroglyph: pattar 'trough' Rebus: pattharaka 'merchant' pattar ‘guild, goldsmith’. The presence of 'feeding trough' hieroglyph on a score of Indus inscriptions signifies the cargo carried on the paṭṭamara 'dhow, seafaring sail boat': guild merchant's cargo of metalwork handed over to the supercargo as shipment on paṭṭamara 'dhow'.. See:http://bharatkalyan97.blogspot.in/2016/07/seafaring-bharatam-janam-of-vedic-times.html wherein it has been suggested that Indus Script inscriptions signify • bagala 'dhow, seafaring vessel' by bagala 'pleaides' • koṭiya 'dhow, seafaring vessel' by koDiya 'one-horned young bull' • sangaDa 'double-canoe' by sangaDa 'lathe/brazier' or 'joined animals' Koṭiya 'dhow, seafaring vessel' is also spelt as Cutch Cotiyah as seen from the following reference: [quote] Cutch Cotiyahs. These boats belong to the ports of Cutch, Mandivee, Poar Bunder, and some to Kurrachee, in the territory of Sinde. They trade between Bombay and those ports. They are very well built, with a square tuck, and many of them have a regular built stern, with ports, and are handsomely carved. Some have a deck fore and aft, but more commonly they have frame-work between the beams – to ship and unship, for the facility of storage – and a bamboo deck. Their general length is from 30 ft. to 50 ft., by 12 ft. to 23 ft. in breadth, and 7 ft. to 10 ft. deep. They are navigated by a crew of 15 to 20 men and a tindal. They are latine-rigged, with main and mizzen sails, both masts raking forward, as usual with the native latine-rigged boats. [unquote](Henry Coleman Folkard, The sailing boat, London, Edward Stanford, 1854, p.443) https://ia600301.us.archive.org/10/items/sailingboattreat00folk/sailingboattreat00folk_bw.pdf Similarly, sangaDa 'double-canoe, catamaran, seafaring vessel' is also spelt as jangada in Brazil (Portuguese), just as bagala is spelt variantly as baglah, bhagala. An ancient seafaring sailboat called Pattamar is also spelt as Patamar (Portuguese), (Patimar, French: Patemar, Patmar). "Patamar are commonly between 200 and 300 tons in weight and are rigged with one to three masts bearing lateen sails. They feature a peculiarly-shaped keel with a club-shaped end of the bow. The wide stern of the average Patamar is somewhat similar to the Baghlah, Sambuk and Kotiya but without apoop deck, which is replaced by a bamboo deck house thatched with coconut palm leaf." https://en.wikipedia.org/wiki/Patamar http://www.siffs.org/books/indianboatdesign.pdf James Hornell discusses in his book (1920): The origins and ethnological significance of Indian boat designs, Memoirs of the Asiatic Society of Bengal, Calcutta. Probably the earliest depiction of Canonore town , from 1572 Date: first Latin edition of volume I was published in 1572. After: an unidentified Portuguese manuscript." ‘Mahratta Grabs and Gallivats attacking an English Ship’ from cover page of ‘The Malabar Pirates….’ by John Biddulph [An early woodcut bird-eye's view of the town of Calicut. India] Plant et Figure de la riche cit de Calecut en la premiere Inde. Author: Belleforest, F. de. PlaceAndYear: Paris, 1575. Description: Francois de Belleforest (1530-1583). Edited a French edition of Sebastian Mnster's 'Cosmography', named 'La Cosmographie universelle', 1575. An early woodcut bird-eye's view of the town of Calicut as seen from the sea, with ships in the foreground and right a ship's yard. Pattamar Composition Richard Konkolski [quote]Pattamar was the father of all the Malabar craft. It is most probably a Hindi name meaning messenger or despatch vessel, converted by the Mussulman seaman to Phatemari - the snake of victory. The Portuguese found the name when they first penetrated the Indian seas. It was basically a large two-or three-masted dhow of India. Pattamar was a lateen-rigged dhow type of cargo-vessel. It was large, fast, and able vessel with sharp forward hull, with great sheer, with "dhow" manner square sterns in general, butwithout a poop deck. Instead of poop they had a bamboo and palm-leaf deck-house running almost all the way to the foremast. When loaded and making sea¬passage their low waistsby was usualy raised by wash-strakes of palm matting to keep out the sea. They could be distinguished by their red paint and black gunwales and the globe painted in bright colours on the stern transom. The lengths did not exceed about 75 feet and the tonnage was up to 300 tons. The basic rig was that of the lateen with bowsprit and jib, but there were many variations of it. They carried two to three suits of sails of varying sizes for various weather conditions. Sailors could always make a temporary new yard if needed from the collection of odd spars generally carried on board for all sorts of purposes. As known, the lateen sails reached as far south as Ceylon, where they could be seen in combination with staysails and fore-and-aft mizens. Pattamars were used by the Mohammedan seamen on the Bombay coast from Colombo all the way to Aden.[unquote] http://www.sevenoceans.com/Ships/ShipsByType/Pattamar.htm Hervé Cozanet - http://www.marine-marchande.net/ https://ia600301.us.archive.org/10/items/sailingboattreat00folk/sailingboattreat00folk_bw.pdf Henry Coleman Folkard, 1854, The sailing boat, treatise on sailing boats and small yachts, their varieties of type, sails, rig, etc. with practical instructions in sailing and management, also the one-design and restricted classes fishing and shooting boats, sailing chariotsand ice yachts, foreign and colonial boats, canoes etc., 1st edition, London, Edward Stanford (590 pages) "The Patamar (Portuguese), (English: Pattamar, Patimar, French: Patemar, Patmar),[1] is a type of Indian Dhow. It was traditionally used in the western coast of the Indian subcontinent as a cabotage vessel between Gujarat andCeylon, usually for the transport of rice. Some can still be seen on the Malabar Coast." https://en.wikipedia.org/wiki/Patamar मारणें (p. 379) māraṇēṃ To drive in (nails, pegs, stakes): to apply, fix, fasten, clap on (locks, rafters, fetters, anything whatever when smartness of action or firmness of fixture is implied) for the cases in which मारणें is employed in construction with nouns to express a work or an action forcibly or smartly performed or done are, without any hyperbole, several hundred. मारणें thus is to be classed with घालणें, टाकणें, लावणें, पाडणें, हाणणें, ठोकणें, and a few others, of the large use of all which wherever vehemence or vigor, activity or animation, are to be signified, notifications appear in every sheet of the dictionary. पतेमारी (p. 276) patēmārī f (पत्ता Tidings, मारी from मारणें Bringer, carrier, conveyer.) A sort of swift sailing vessel, a pattymar. फतेमारी (p. 314) phatēmārī f ( H A letter-carrier.) A small sailing vessel, a patimar.
On thousands of Indus Script inscriptions, the most frequently used ciphertexts are pictorial narratives of 1) standard device and 2) spiny-horned young bull These two orthographic compositions are ciphertexts.The common design principle of both the ciphertexts is: Hieroglyph: सांगडणें sāṅgaḍaṇēṃ (सांगड) 'to link, join, or unite together (boats, fruits, animals)' Vajra Sanghāta 'binding together' (Varahamihira) Rebus: *saṁgaḍha ʻ collection of forts ʼ. [*gaḍha -- ] L. sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ.(CDIAL 12845). Thus, for e.g., the standard device joins together a flagpost, portable furnace or bowl with live coals, lathe and gimlet together with the junction showing सांगड sāṅgaḍa 'That member of a turner's apparatus by which the piece to be turned is confined and steadied; Similarly, the spiny-horned young bull is composed with orthographic emphasis on the joined together parts: the spiny horn, one ear, rings on neck, pannier on shoulder, belly, youth of the animal leg & thigh, and penis, This monograph presents the decipherment of the two ciphertexts as Meluhha plaintext expressions in two sections: 1) standard device and 2) spiny-horned young bull Section 1 Standard device which joins together a) lathe b) सांगड sāṅgaḍa 'That member of a turner's apparatus by which the piece to be turned is confined and steadied; c) gimlet d) portable furnace; e) flames emanating from the surface f) flagpost; f) gold beads or dotted circles. --Hieroglyphs joined together form Indus Script hypertexts; decipherment yields plaintexts of wealth-accounting ledgers of wealth products such as metalwork, gems and jewels, lapidary work. -- kunda,'lathe' Agnikuṇḍa, 'bowl with live coals' PLUS pottu 'hole' potti 'gold bead' rebus: pō̃ta 'metal casting' PLUS kaṇḍa 'flagpost' rebus: khaṇḍa 'equipment' -- singa 'young bull' (Pali) rebus singi 'ornament gold'; Singa1 (nt.) [Vedic śṛnga, cp. Gr. ka/rnon, kraggw/n; Lat. cornu=E. horn] a horn J i.57, 149, 194; iv.173 (of a cow); Vism 106; VvhA 476. -- dhanu horn -- bow DhA i.216. -- dhamaka blowing a horn Miln 31. Singa2 the young of an animal, calf J v.92; cp. Deśīnāma- mālā viii.31. Singika (adj.) [fr. singa1] having horns J vi.354 (āvelita -- ˚ having twisted horns). Singin (adj.) [Vedic śṛngin] having a horn Vin ii.300; J iv.173 (=cow); clever, sharp -- witted, false Th 1, 959; A ii.26; It 112; cp. J.P.T.S. 1885, 53. Singila a kind of horned bird J iii.73; DhA iii.22 (v. l. singala).Singī & singi (f.) [cp. Sk. śṛngī] 1. gold Vin i.38; S ii.234; J i.84. -- 2. "ginger" in sense of "dainties, sweets" J iv.352 (=singiver' ādika uttaribhanga C.; cp. Tamil iñji ginger).-- nada gold Vv 6428; VvA 284. -- loṇa ( -- kappa) license as to ginger & salt Vin ii.300, 306. -- vaṇṇa gold-coloured D ii.133. -- suvaṇṇa gold VvA 167.(Pali) (See annexed note on singh, simha). -- pōta 'young bull, calf' rebus पोतृ 'purifier',potadāra 'village silversmith, assayer of metals' -- ପୋଦାର୍— Podār [synonym(s): পোদ্দার पोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେ ରାଜସ୍ବ ଟଙ୍କା ପରୀକ୍ଷା କରେ)— 1। ଟଙ୍କା କୃତ୍ରିମ କି ଭଲ ତାହା ପରୀକ୍ଷା କରିବା ବ୍ଯକ୍ତି— 1. A person who sets coins; poddar. 2। ତହବିଲ୍ଦାର୍ କର୍ମଚାରୀ—2. A cash keeper; cashier. 3। ବଣିଆ; ସ୍ବର୍ଣ୍ଣ ରୌପ୍ଯ ବ୍ଯବସାଯୀ ବଣିକ— 3. Goldsmith; jeweller. 4। ମୁଦ୍ରା ବ୍ଯବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker.ପୋଦ୍ଦାର୍— Poddār [synonym(s): পোদ্দার पोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେ ରାଜସ୍ବ ଟଙ୍କା ପରୀକ୍ଷା କରେ)— 1। ଟଙ୍କା କୃତ୍ରିମ କି ଭଲ ତାହା ପରୀକ୍ଷା କରିବା ବ୍ଯକ୍ତି— 1. A person who sets coins; poddar. 2। ତହବିଲ୍ଦାର୍ କର୍ମଚାରୀ—2. A cash keeper; cashier. 3। ବଣିଆ; ସ୍ବର୍ଣ୍ଣ ରୌପ୍ଯ ବ୍ଯବସାଯୀ ବଣିକ— 3. Goldsmith; jeweller. 4। ମୁଦ୍ରା ବ୍ଯବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker.ପୋଦାରୀ— Podārī [synonym(s): পোদ্দারী पोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār.ପୋଦ୍ଦାରୀ— Poddārī [synonym(s): পোদ্দারী पोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār. -- singhin, 'having spiny horns,projecting in front' Rebus: singin 'gold for ornaments' PLUS karā 'ear' PLUS kunda 'young bull' together signify singikār kũdār,'ornament goldsmith who works a lathe or a lapidary'. -- Organizing principle of 'joining together parts' in Indus Writing System is called Hieroglyph: सांगड sāṅgaḍa m f (संघट्ट S) 'That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.'; सांगडणी sāṅgaḍaṇī f (Verbal of सांगडणें) Linking or joining together.सांगडणें sāṅgaḍaṇēṃ v c (सांगड) To link, join, or unite together (boats, fruits, animals) 2 Freely. To tie or bind up or unto. I submit that saṁghāya 'closeness in enterprise'; and 2. 'intimate, familiar communication' is the organizing principle for the functions of Indus Script Cipher to communicate intimately to close associates in trade and wealth-production transactions. These intimate communications relate to sã̄gah 'collections of metalwork, metalcasting work, gems-jewels and lapidary work products'. The semantics of similar sounding expressions in Meluhha signify the semantics of 1. saṁghāya 'closeness in enterprise'; and 2. intimate, familiar communication; 3. sã̄gah 'collections of materials' or manufactured metal, gem-jewel products which yield wealth in business transactions. Rebus 1: Pk. saṁghāya -- m. ʻcloseness, collectionʼ (CDIAL 12862) संघट्टण 'Close connection and intercourse; intimate and familiar communication' (Marathi) Rebus 2: -- saṁgraha m. ʻ collection ʼ Mn., ʻ holding together ʼ MBh. [√grah]Pa. saṅgaha -- m. ʻ collection ʼ, Pk. saṁgaha -- m.; Bi. sã̄gah ʻ building materials ʼ; Mth. sã̄gah ʻ the plough and all its appurtenances ʼ, Bhoj. har -- sã̄ga; H. sãgahā ʻ collection of materials (e.g. for building) ʼ; <-> Si. san̆gaha ʻ compilation ʼ ← Pa.(CDIAL 12852) sáṁgr̥hṇāti ʻ seizes ʼ RV. 2. *saṁgrahati. 3. saṁgrāhayati ʻ causes to be taken hold of, causes to be comprehended ʼ BhP. [√grah]1. Pa. saṅgaṇhāti ʻ collects ʼ, Pk. saṁgiṇhaï; Or. saṅghenibā ʻ to take with, be accompanied by ʼ.2. Pa. fut. saṅgahissati, pp. saṅgahita -- ; Pk. saṁgahaï ʻ collects, chooses, agrees to ʼ; Si. han̆ginavā ʻ to think ʼ, hän̆genavā, än̆g˚ ʻ to be convinced, perceive ʼ, han̆gavanavā, an̆g˚ ʻ to make known ʼ.3. Or. saṅgāibā ʻ to keep ʼ.(CDIAL 12850) Rebus 3: Yet another rebus reading is: the ancient accounting system used for invoicing precious commodities on approval basis called: The jangad/Challan made out by the defendant and stated to be signed by the plaintiff as receiver of the goods shown therein evidences the written contract between the parties... https://www.casemine.com/search/in?q=invoice+written+contract In Gujarati, the word jangadiyo means 'a military guard carryiingaccompanies treasure stored in the treasury/warehouse of the state'. See: Itihāsa, Standard device on Indus Script Corpora is सांगड sāṅgaḍa 'joined lathe, portable furnace' rebus: saṁghāṭa 'catamaran' (Rāmāyaṇa), sãghāṛɔ 'lathe' jangadiyo 'military guard' https://tinyurl.com/y7o7wf9t Section 1 Standard device The arrow points to सांगड sāṅgaḍa, सांगाडी sāṅgāḍī 'That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.' (Marathi) सांगड 'lathe apparatus to firmly hold together the perforated bead' rebus: sãgahā ʻcollection of materials'. Note the piece numbered 6 on this drawing provided by the late Iravatham Mahadevan. This part of the turner's apparatus is सांगाडी sāṅgāḍī to hold and steady the turned object. Could be a stone slab with a slight depression. The piece to steady turned objects, shown between the gimlet and the top of the portable furnace is सांगाडी sāṅgāḍī. 'f The machine within which a turner confines and steadies the piece he has to turn. ' (Marathi) The part of the turner's apparatus which holds the turned 'bead' and holds it steady is seen in the following seal of Mohenjo-daro(See the plate just below the gimlet of the lathe). This is सांगाडी sāṅgāḍī of kunda 'lathe'. The drawing is courtesy the late Iravatham Mahadevan. The numbered parts are interpreted by me, NOT as a filter but a lathe ligatured to a portable furnace: Hence, the parts 1 to 12 are explained in Meluhha words/expressions as follows: kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1]N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdā, kõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibā, kū̃d˚ ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi. kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m.(CDIAL 3295) kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1]A. kundār, B. kũdār, ˚ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, ˚rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297) Image result for indus script lathe gimlet work dennys frenez"1. Top hook (handle); kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790). 2. gimlet; स्फोटनी sphōṭanī स्फोटनी The boring tool, an auger, a gimlet. sphōṭana1 n. ʻ act of breaking ʼ Āpast., sphōṭanī -- f. ʻ gimlet ʼ lex. [√sphuṭ]Pk. phōḍaṇa -- n. ʻ splitting ʼ; Or. phoṛaṇī ʻ instrument for boring ʼ.(CDIAL 13855)Ta. purai tubular hollow, tube, pipe, windpipe. This is possibly a rebus for pota 'assayer of metals'.
Gaṇeśa -- the leader of Marut Gaṇa, a scribe with dāt, an ivory stylus -- and Kṣṇadwaipāyana Vyāsa -- the black narrator, a Ganga-island dweller -- unite together after Gaṇeśa consents to be a scribe uttering om and together start with an invocation for success to Nara and Nārāyaṇa (nārāyaṇaṃ namaskṛtya naraṃ caiva narottamam; 1.1.0) and to goddess Sarasvatī (devīṃ sarasvatīṃ caiva tato jayam udīrayet; 1.1.0). Om is part of the iconography, pratimā, 'ādhyātmikā symbol' which refers to ātman (soul, self within) and Brahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). So, they start with ओम् Om pratimā which is प्रणव, praṇava. Om is the last sound a Yogi hears before entering the state of Turīya level of language, script and reality. The mystic syllable is affirmation of something divine in the narration and scripted text of Mahābhārata. Why does Gaṇeśa uttar Om assenting to be a scribe of Vyasa's oral narrative? Om (ॐ) is the pratigara (agreement) with a hymn. Likewise is tatha (so be it) with a song. But Om is something divine, and tatha is something human. — Aitareya Aranyaka 23.6 तस्य वाचकः प्रणवः ॥२७॥ His word is Om. — Yogasutra 1.27 ओं नमः (Oṃ namaḥ) Siddhanam (6 syllables), Om Nhi (2 syllables) and just Om (1 syllable) are the short forms of the Paramesthi-Mantra, also called Namokar Mantra or Navkar Mantra in Jainism "Om Mani Padmi Hum" to be AUM, the totality of sound, existence and consciousness in Bauddham Oankar ('the Primal Sound') created Brahma, Oankar fashioned the consciousness, From Oankar came mountains and ages, Oankar produced the Vedas, By the grace of Oankar, people were saved through the divine word, By the grace of Oankar, they were liberated through the teachings of the Guru. — Ramakali Dakkhani, Adi Granth 929-930, Translated by Pashaura Singh. Tibetan, Siddham, Devanagari (also Gujarati, Marathi) Tamil, Grantha, Kannada, Chinese, Bali, Java, Jaina A synoym of Rāṣṭrī (RV 10.125) is the name atrributed to the earliest script of Bhārat, the first in a list of scripts mentioned in the Lalitavistara Sūtra; the script is called ब्राह्मी Brāhmī The thesis is that 1. Indus Script writing system -- perhaps the earliest system on the globe -- was created ca. 3300 BCE, evidenced by the discovery in Harappa (by Harvard HARP team) of an inscribed potsherd proclaiming a tin forge: kolom 'three' rebus: kolimi 'smithy, forge' tagaraka 'tabernae montana' rebus: tagara 'tin'; 2. the writing system was linked to the R̥gveda ākhyāna of Gaṇapati; 3. Gaṇapati iconography is based on Indus Script orthographic cipher to signify iron workers and an artisan guild of Marut Gaṇa. Early writing samples in ब्राह्मी Brāhmī script appear on ancient coins and on Sohgaura copper plate inscription. See: Sohgaura tāmra-sāsana with Indus Script hypertexts & Brahmī epigraph to protect metalwork wealth & merchandise of traders https://tinyurl.com/ybdljjzq vedisa in Brāhmī script, Pre-Śātavāhana Vidisha, die-struck AE, wheel type Weight: 1.18 gm., Dimensions: 13 mm. Obv.: Eight-spoked wheel Rev.: Brahmi legend reading vedisa Reference: Pieper collection rajno bhumidatasa in Brāhmī script, Pre-Śātavāhana Eran-Vidisha AE 1/2 karshapana, Bhumidata, six punch type Weight: 5.10 gm., Dimensions: 21x21 mm. Railed tree in centre; elephant on left and railed Indradhvaja on right; river at the bottom; on top right taurine in fixed railing and on top left legend punch reading rajno bhumidatasa Blank reverse Reference: S. Tiwari collection, p. 196, var.3 / Pieper 489 (plate coin) http://coinindia.com/galleries-eran2.html vagapalasa in Brāhmī script, c. 150 BCE Vangapala, AE half karshapana, c. 150-130 BCE Weight: 5.77 gm., Diam: 18.5 mm. Ref: Shrimali Fig. II.13, Pl. XII.7 Ashmolean Museum, Oxford. (Photo, courtesy Shailendra Bhandare) This coin of Vangapala (the legend reads vagapalasa) is overstruck on a coin of Damagupta (whose name can be made out on the image below the Vangapala punch). Shailen Bhandare, in a post on Facebook, informs us that "Inscriptions in Pabhosa caves (near Kaushambi, dist. Allahabad) record that king Shonakayaniputra Vangapala of Ahichchhatra was the father of king Tevaniputra Bhagavata and grandfather of king Vaihidariputra Ashadhasena, who was the maternal uncle of king Gopaliputra Brhaspatimitra. The last ruler is known from Kaushambi coins inscribed in his name ('Bahasatimitasa')." http://coinindia.com/galleries-panchala-kingdom.html Gaṇeśa is the scribe who wrote down the Mahābhārata. During the sarpa satra (snake yajña),वैशम्पायन narrates Mahābhārata to King Janamejaya. (S3Br. xi , xiii AitBr.S3a1n3khS3r. xvi MBh. &c; Gr2S. TA1r. &c (cf. IW. 371 n. 1). King Janamejaya was the son of King Parīkṣit. परिक्षित् was the grandson of अर्जुन and son of अभिमन्यु. A remarkable narrative of the sarpa sattra includes the role of Astika,, a boy who pleads with Janamejaya. āstīka's mother Manasā was a Naga and his father a Brahmin. Manasā is the sister of Vasuki, king of Nāgas (snakes) and wife of sage Jagatkāru (Jaratkāru). Janmejaya listened to the sage counsel of the learned āstīka and sets the then-imprisoned Takṣaka free. तक्षक [p= 431,3] is a विश्वकर्मन्, a carpenter. Janamejaya also stopped the massacre of the Nagas and ended all enmity with them (1,56). From that time onward, the Nagas and Kurus lived in peace. आस्तीक [p= 161,2] is a मुनि, the son of जरत्कारु and भगिनी जरत्कारु MBh. Hariv. जरत्--कारु [p= 413,3] is a ऋषि of यायावर's family MBh. BrahmaP. ii , 1 and 43. Yāyāvar have no fixed abode and are a wandering gaṇa. I suggest that the Yāyāvar (jaratkāru, āstīka, तक्षक, विश्वकर्मन्) were the itinerant metalsmith and artisan gaṇa of the Bronze Age who actively contributed to the wealth of the nation. .The leader of such gaṇa is Gaṇeśa who has mastered the art of writing. Orthographic and iconographic signifiers of Gaṇeśa are the Indus Script hieroglyphs: elephant trunk, human body, mouse, dance-step, tusk: karabha, ibha 'elephant' rebus: karba, ib 'iron'; meḍ 'body' rebus: meḍ 'iron'; meḍ 'dance-step' rebus: meḍ 'iron'; mūṣa 'mouse' rebus: mūṣa 'crucible'. Thus, together, the hypertext signifies iron smelting (to produce crucible steel). The dāt (dānt) 'tusk' rebus: dhātu 'mineral ore' is the writing instrument. Mlecchita vikalpa , a cypher system of writing, is a collateral form (VarBr2S.), a contrivance, art, to signify words by hieroglyphs read rebus. Combinations of hieroglyphs result in hypertexts such as composite animals and composite orthographic constructs like the elephant-headed Gaṇeśa and his dance-step in a Candi-Sukuh sculptural frieze. R̥gveda proclamation of a ketu to signify a Soma yajña is a similar construct of an octagonal or aṣṭāśri yūpa which constitutes the Rudra-bhāga of Śivalinga. A variant ekamukha Śivalinga is also a Mlecchita vikalpa or Meluhha Indus Script cipher to signify: mũh 'a face' rebus: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' The iconography of Varāha signifies the role of caṣāla 'snout of boar' rebus: caṣāla 'godhūma, fumes of wheat chaff atop a flaming aṣṭāśri yūpa, to infuse carbon into and harden moltenmetal in furnace/smelter'. This Mlecchita vikalpa or Meluhha Indus Script cipher is signified by the snout of Varāha in Khājuraho adorned with the sculptural frieze of Brāhmī, the divinity of speech or vāk. After the invention of Brāhmī syllabic wrting system, the text of Mahābhārata itihāsa is rendered in writing by Gaṇeśa, the scribe, who is signified iconographically in the tradition of Mlecchita vikalpa or Meluhha Indus Script cipher. It is hypothesised that this should have happened sometime after ca. 3300 BCE and ca. 1st mllennium BCE, close to 1. the date of Sohgaura copper plate which is a bilingual Rosetta stone inscription presented in two scripts -- Indus Script and Brāhmī script; and 2. the date of Amaravati fiery pillar of light topped by a hypertext in Indus Script of khambhaṛā 'fin' rebus: kammaṭa 'coiner, coinage, mint' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS dula 'pair' rebus: dul 'metalcasting' to signify dul ayo kammaṭa, 'alloy metal casting mint.'. The Amaravati sculptural friezes are an echo of King Janamejaya's sarpa sattra which resulted in the peace with Naga-s, thanks to the intervention of āstīka and the release of imprisoned Takṣaka by Janamejaya. I submit that Gaṇeśa as a scribe in an Indus Script is a signifier of the leadership provided by metalworker Gaṇa who created the wealth of the nation and documented them as wealth accounting ledgers on over 8000 Indus Script Corpora of Inscriptions. R̥gveda of 10,800 r̥ca-s venerates Gaṇeśa. Indus Script Corpora of over 8000 inscriptions celebrates Gaṇeśa as the embodiment of the wealth of the Rāṣṭram. The celebration is an echo of R̥ṣikā Vāgāmbhr̥ṇī's celebration of Brāhmī, the mover of wealth of the nation --sangamanī vasūām Rāṣṭrī. A synoym is the name atrributed to the script of a writing system, the first in a list of scripts mentioned in the Lalitavistara Sūtra. : ब्राह्मी ब्राह्मी [p= 742,1] f. (of ब्राह्म्/अ q.v.) the शक्ति or personified energy of ब्रह्मा (regarded as one of the 8 मातृs or divine mothers of created beings ; in MBh. ix , 2655 they are said to attend स्कन्द) L.; speech or the goddess of speech (= सरस्वती) MBh. i , 19; brāhmī ब्राह्मी Speech; संस्कारो- पगतां ब्राह्मीं नानाशास्त्रोपबृंहिताम् Mb.1.1.19. -A tale or narrative. -A pious usage or custom, Vedic rituals; ब्राह्म्या संवर्तयामासू राङ्कवास्तरणावृताम् Rām.6.111.113. Varāha in Khājuraho वैशम्पायन [p= 1026,1]m. (patr. fr. विशम्-प) N. of an ancient sage (teacher of the तैत्तिरीय-संहिता [q.v.], in epic poetry is a pupil of व्यास). शुक [p= 1079,2] N. of a son of व्यास is narrator of the भागवत-पुराण to king परिक्षित्) MBh. Pur. also taught the Mahābhārata text to gandharva-s, rākṣasa-s and yakṣa-s.
The torc on the horns of a boatman on Pillar of Boatmen, is 'badge of corporate responsibility. One badge he could have worn as a fillet on his forehead. Another badge he could have worn as a fillet on his right shoulder. Priest-king,Mohenjo-daro stone statue (ca. 2500 BCE). Kernunnos on Pillar of Boatmen (ca. 1st cent. BCE). See: http://bharatkalyan97.blogspot.in/2016/04/dharma-samjna-corporate-badges-of-indus.html koD 'horn' rebus: koD 'workshiop'. The horns are orthographically like twigs.kūdī 'bunch of twigs' (Sanskrit) Rebus: kuṭhi 'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.ccord. to Kaus3. , Sch. = बदरी, "Christ's thorn".(Monier-Williams). Thus he signifies kuṭhi smelter-worker and a seafaring merchant. vāḍhī, bari, barea 'merchant' bārakaśa 'seafaring vessel'. He is also a Kernunnos, karṇi supercargo (seafaring merchandise)' karNika 'helmsman, merchantman'. He is seated in penance kamaḍha 'penance' Rebus: kammaṭa 'mint'. Thus he signifies a seafaring merchant, a smelter, a mint-master. He exhibits the badges of corporate responsibility, he is a guild-master śrēṣṭhin m. ʻ distinguished man ʼ ʻ foreman of a guild ʼ (AitBr.) I suggest that त्रिशिरस् is a metaphor signifying three corporate responsibilties entrusted in a guild or community: smelter, mint-master, merchant. He is a त्वष्टृ tvaṣṭṛ 'a carpenter, builder, workman'. As Kernunnos, he is the helmsman captain of bārakaśa 'seafaring vessel'. the merchantman. Three faces of a seated person in penance m0304 seal signify a smelter: mũh 'face' Rebus: mũhe 'ingot'. muhã 'quantity of metal produced at one time in a native smelting furnace.'. The pair of torcs on the horns of Tuisto on the Pillar of boatmen are kaṇṭhlā 'neck ring', kãṭhāḷ ʻmaritimeʼ heritage, त्रि--शिरस् three-pointed triskele, three-headed as in कर्णिक 'a steersman' कारणी or कारणीक. prime minster, supercargo of a ship' on m0304 seal. Kernunnos from a Gallic temple & Gallic Village 2200 years ago, of Acy-Romance north of Rheims. सञ्ज्ञा, स्त्री, (सं + ज्ञा + अङ् ।) संज्ञा । इति मेदिनी ॥सञ्ज्ञुः, त्रि, (संहते जानुनी यस्य । “प्रसंभ्यां जानुनोर्ज्ञुः ।” ५ । ४ । १२९ । इति ज्ञुः ।) संज्ञुः । इत्यमरः ॥ https://sa.wikisource.org/wikशब्दकल्पद्रुमः/सङ्गवः See also three heads on the person seated in penance on Mohenjo-daro seal m0304. The torcs are धम्म र्संज्ञा dhamma saṁjñā 'profession'. The torcs are comparable to the ceramic red stoneware bangle of Harappa. Red stoneware bangle, Harappa. A pair of such bangles adorn the horns of boatman on the Pillar of boatmen. Sign403: Hieroglyph: bārī , 'small ear-ring': H. bālā m. ʻbraceletʼ (→ S. ḇālo m. ʻbracelet worn by Hindusʼ), bālī, bārī f. ʻsmall ear -- ringʼ, OMārw. bālī f.; G. vāḷɔ m. ʻ wire ʼ, pl. ʻ ear ornament made of gold wire ʼ; M. vāḷā m. ʻ ring ʼ, vāḷī f. ʻ nose -- ring ʼ.(CDIAL 11573) Rebus: bārī 'merchant' vāḍhī, bari, barea 'merchant' bārakaśa 'seafaring vessel'. Many of the terra cotta bangles were originally painted with black or red designs. Such ornaments are found in the thousands and may have been worn, broken and discarded much as glass bangles are used today throughout the subcontinent. Terra cotta bangles, Mohenjo-daro. They are signifiers of Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala). Balakot 06 Ceramic (stoneware) bangle The sequence of hieroglyphs Squirrel + Sign 403 signifies two professional responsibilities/functions merchant, blacksmith. Hieroglyph: squirrel (phonetic determinant): खार (p. 205) [ khāra ] A squirrel, Sciurus palmarum. खारी (p. 205) [ khārī ] f (Usually खार) A squirrel. (Marathi) A homonymous hieroglyph or allograph: arms with bangles: karã̄ n.pl.ʻwristlets, banglesʼ.(Gujarati)(CDIAL 2779) khār 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 'bellows of blacksmith'.with inscription. *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master: *śrēṣṭrī2 ʻ line, ladder ʼ. [For mng. ʻ line ʼ conn. with √śriṣ2 cf. śrḗṇi -- ~ √śri. -- See śrití -- . -- √śriṣ2]Pk. sēḍhĭ̄ -- f. ʻ line, row ʼ (cf. pasēḍhi -- f. ʻ id. ʼ. -- < EMIA. *sēṭhī -- sanskritized as śrēḍhī -- , śrēṭī -- , śrēḍī<-> (Col.), śrēdhī -- (W.) f. ʻ a partic. progression of arithmetical figures ʼ); K. hēr, dat. °ri f. ʻ ladder ʼ.(CDIAL 12724) Rebus: śrḗṣṭha ʻ most splendid, best ʼ RV. [śrīˊ -- ]Pa. seṭṭha -- ʻ best ʼ, Aś.shah. man. sreṭha -- , gir. sesṭa -- , kāl. seṭha -- , Dhp. śeṭha -- , Pk. seṭṭha -- , siṭṭha -- ; N. seṭh ʻ great, noble, superior ʼ; Or. seṭha ʻ chief, principal ʼ; Si. seṭa, °ṭu ʻ noble, excellent ʼ. śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ]Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ, seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?)(CDIAL 12725, 12726)
--Emūṣa's Mahāvīra pot, Māyābheda Sukta & celebration of ऋभु R̥bhu, 'wealth, artisans' --baḍhia 'a castrated boar, a hog'(Santali) বরাহ barāha 'boar' Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala). Together with Gaṇeśa, Varāha and Varāhi are shown as Marut-gaṇa: Dance-step of Gaṇeśa, Emūṣa, Varāha, with Marut-gaṇa. Kailasanath Temple, Kanchipuram. Association of Marut-gaṇa, kharva, 'dwarfs' (rebus: kharva 'a nidhi of Kubera) with Ekamukha śivalinga in Bhuteshwar sculptural friezes Association of Sivalinga, Lelei, Dist.Sundergarh. A full (Square base the (brahmabhaga), octagonal in the middle (vishnubhaga), cylindrical on top (rudrabhaga signifying eight angles: aṣṭāśriyupa with Rudrabhāga of śivalinga aṣṭmtr̥kā and aṣṭāśri, eight forms of wealth aṣṭmtr̥kā and Gaṇeśa in dance-step Binjor. Yajnakunda with aṣṭāśri yupa, a ketu or proclamation for Soma samsthā yajña. See: Gaṇeśa is scribe of Mahābhārata pañcamaṃ veda is itihāsa to protect dharma https://tinyurl.com/y9slvdfa Gaṇeśa is scribe of Mahābhārata https://tinyurl.com/ycpoch5w Varahi among Saptamātr̥kā-s and Śiva. Gaṇeśa is Brāhmī scribe of Mahābhārata in the tradition of Indus Script cipher of Bronze Age https://tinyurl.com/y79j8rxp http://tinyurl.com/j8hh4q See: Cet n'est pas un zébu. Contribution of Indus Script decipherment to semantics 'study of meaning' and semiotics, 'study of signs' https://tinyurl.com/yagonwbb In this monograph, the hypertexts of zebu and black drongo signified in Indus Script cipher: 1. पोळ pōḷa 'zebu' rebus: pōḷa 'manetite ore, ferrite ore'. 2. pōlaḍu 'black drongo' rebus: pōlaḍa 'steel' 3. meṛh 'rope tying to post, pillar' rebus: meḍ 'iron' (Ho.); med 'copper' (Slavic). Language (spoken or uttered words or parole) is a system of signs. Visual language (writing, script) is a system of signs. Both systems of signs use signifiers and signified to convey a message. Such a messaging system is the subject of semiotics 'study of signs'. Semiotics (from Greek: σημειωτικός, "simiotikos") is the study of meaning-making, i.e. to derive 'meaning' from 'signs'. Bhartṛhari's Vākyapadīya, on Sanskrit grammar and linguistic philosophy, is a foundational text in the Indian grammatical tradition. It explains numerous theories on the word and on the sentence, including theories which came to be known under the name of Sphoṭa for semantics, 'study of meaning'. [Semantics (from Ancient Greek: σημαντικός sēmantikos, "significant"]. Both signifiers and signified are references to spoken or uttered words or parole. This monograph demonstrates with additional examples, the Indus Script cipher to derive 'meanings' of the iconographic metaphors of Varāha in ancient traditions. The 'meanings' are seen at ādibhautika levels of metal products of the bronze age produced and traded by seafaring Meluhha merchants. The artisans who carried these dhamma samjñā, 'responsibility badges' in the Indus Script tradition, are proclaiming their artisanal competence, using the anthropomorphs as professional calling cards. 1. baḍhi, bāṛaï 'worker in wood and iron' PLUS कोंद kōnda 'young bul' rebus: kōnda 'engraver'. kõdār 'turner', kundana 'fine gold'; kunda, 'a treasure of Kubera'.. 2. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍh ‘helper of merchant’ (Gujarati) mẽṛhẽt, meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, 'iron', ayas ‘metal. Thus, together read rebus: ayo meḍh ‘iron stone ore, metal merchant.’ PLUS hieroglyph: Spread legs: कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic determinant) Rebus: karṇa-dhāra 'helmsman', karṇī 'scribe, account' 'supercargo'. Alternative (vikalpa): tagara 'ram' (Kannada) Rebus: damgar 'merchant' (Akkadian) tagara 'tin' (Kannada) The anthropomorph 'ram' hieroglyph together with incised 'fish' hieroglyph reads: tagara ayo 'metal alloy (with tin)'. This was the stock-in-trade of the artisan/merchant damgar. यज्ञवराहः YajñaVarāha is described as follows: Diksha Samaapteeshtim damshtrtah kratu danto Juhuumukhah, Agni jihvo darbha romaa Brahma seersho Mahatapaah/ Veda skandho havirgandhirhavyakavyaadi vegavaan, Praagvamsha kaayo Dyutimaan naanaa Dikshaabhiranvitah/ Dakshinaa hridayo Yogi Shraddhaa satwa -mayo Vibhuh, Upaakarma ruchischaiva pravagyaavarta bhushanah/ Naanaachhandogati patho guhyopanishadaasanah, Maayaapatnisahaayo vai Giri shringamivocchrayah/ Aho raatrekshana dharo Vedanga shriti bhushanah, Aajya gandhah struvastundah Samaghosa swano Mahaan/ Satyadharma mayah Shrimaan Karma vikrama saskrutah, Prayaschitta nakho ghorah Pashujaanurmahaamakhah/ Udgaadaantro Homa Lingah Phala beeja mahoushadheeh, Vaadyantaraatmasatrasya naasmikaasomashonitah/ ( The Yagna Varaha took up the diksha or Initiation of the Kratu or the Sacifice with his ‘damshtras’ or curved fangs and teeth holding the ‘Juhu’or the crescent shaped wooden ladle with which to make the offerings of ghee; Agni was his tongue to lap up the Sacrifice; Darbha grasses were the Varaha’s hairs; Brahma one of the Chief of ‘Ritviks’ or the Brahmanas performing the Sacrifice was comparable to Varaha Murti’s Head; Vedaas were his shoulders; his body-aroma was his ‘havis’ or the Sacrificial Offering; the Havya and Kavya or the offerings to Devas and Pitru Devas respectively consituted his body-speedwith which the Sacrificial Offerings were made; the ‘Praagvamsha’ or the East-bound Chamber in which the guests at the Sacrifice were seated was Varaha’s kaaya or the spacious physique; He was highly radiant and capable of accepting several Dikshas like the one being performed; He was the Master of Yoga full of Shraddha and Satwa or Sincerity and Resolve; he had Upakarma or extra study of Vedas and an expert in ‘Pragvargya’ or the Introductory Ceremony to the long-duration Soma Sacrifice; his ‘Avarta Bhushana’ or the ornamental and circular curls of the boar chest; the representation of various ‘Chaandas’ or Poetic Meters as his pathway; Upanishads as his seat; his able asistance is Maya as his spouse; his height was that of a mountain peak; his eyes representing Sun and moon and day and night; Vedangas and Shritis were his ear-ornaments; his body smell was that of ‘Ajya’ or the Ghee offering; Sruva or the sacrificial ladle is like his snout or muzzle; his voice was like the high pitch of the chanting of Saama Veda hymns; ‘Udgata’ or the elongated Sama Veda hymn was like his entrail or intestines; homa was his Linga or Symbol; fruits and seeds are his testicles; the altar of sacrifice was his heart; He was an Epitome of Satya Dharma and Soma Rasa was his own blood.) Thus Yajna Varaha Deva, as Nasika Soma sonita, dived deep into waters and lifted up Earth, allocated waters into Oceans and Rivers on Earth, materialised Mountains to stabilise the waters thus allocated, broadly created Sapta Dwipas on Earth, materialised Bhurbhuva -ssuraadi Lokas and their inhabitants on the same pattern as in the previous Kalpas before the Great Pralaya. https://www.kamakoti.org/kamakoti/brahmandapurana/bookview.php?chapnum=3