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Dharma unites Bauddha, Jaina and Hindu

-- Tracing srivatsa as Meluhha hieroglyph of Indus writing for wealth creation along the Tin

Road

-- Meluhha hieroglyphs on Sanchi stupa: Dharma cakra, ariya sangha puja, ariya dhamma puja

How life-forms perceive or comprehend meaning of life and living is a philosophical enquiry

related to all activities, all phenomena. Philosophy of symbolic forms is a subset of this enquiry.

The hieroglyphs used to denote dhamma is a garland or rope, dhāma, 'rope, garland'. This

hieroglyph was used in the context of sculptural metaphors commonly used by all Bharatam

Janam, 'metalcasters'.

Be they adherants of Bauddha, Jaina or Hindu paths, be they ariya, ayira or mleccha, meluhha,

they were all bharatam janam 'metalcasters'. The hieroglyph which denoted ariya-

ayira was: ayira, 'fish'. The hieroglyph which denoted puja was puci, pici 'tail (of) fish'.

The sangha as a community with common socio-economic interests and founded on dharma-

dhamma was an extension of the discipline of corporate behavior associated with an artisan or

trade guild during the Bronze Age.

Ariya, Ayira was a Meluhha gloss which connoted a person of noble character contributing to the

welfare; such a person was a sotthiya, blessed.

Thus, four key terms in the evolution of the sacredness associated with the glosses and related

hieroglyphs: dharm-dhamma, sangha, ariya-ayira and puja (worship). The worship was a

recognition of the cosmic phenomena which made smithy (kole.l) a metaphor for a temple

(kole.l) where the community celebrates the joint wealth-producing life-activities by trade

exchanges, journeys on caravans and as seafaring artisans and merchants. The puja (worship) can

be for a hieroglyph of a stake (linga: meDh 'stake' rebus: meDh 'helper of merchant') or a tree

(kuTi 'tree' rebus: kuThi 'smelter') or a person seated in meditation (kamaDha 'penance' rebus:

kampaTTa 'mint') with horns (koD 'horns' rebus: koD 'artisan's workshop'). Extension of life-

activities merge into the process of transformation from Being to Becoming, reinforced by

written-down hieroglyphic representations of cosmic-consciousness order of dharma-

dhamma which seem to coalesce in nihs'reyas (beatitude or absolution), contemplation of the

divine dance of the cosmic dancer. [Explaining the compound: [p= 538,3] for (q.v.)

before a sibilant meaning: 'out , forth , away' + śrēyas , thus niśrēyas 'forth into beatitude'

which is attained by dharma-dhamma.]

Note on rebus reading of svastika hieroglyph on Sanchi stupa and Jaina Ayagapata

Pali etyma point to the use of 卐 with semant. 'auspicious mark'; on the Sanchi stupa; the cognate

gloss is: sotthika, sotthiya 'blessed'.

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Or. ṭaü ʻ zinc, pewter ʼ(CDIAL 5992). jasta 'zinc' (Hindi) sathya, satva 'zinc' (Kannada) The

hieroglyph used on Indus writing consists of two forms: 卐卍. Considering the phonetic variant

of Hindi gloss, it has been suggested for decipherment of Meluhha hieroglyphs in

archaeometallurgical context that the early forms for both the hieroglyph and the rebus reading

was: satya.

The semant. expansion relating the hieroglyph to 'welfare' may be related to the resulting alloy of

brass achieved by alloying zinc with copper. The brass alloy shines like gold and was a metal of

significant value, as significant as the tin (cassiterite) mineral, another alloying metal which was

tin-bronze in great demand during the Bronze Age in view of the scarcity of naturally occurring

copper+arsenic or arsenical bronze.

I suggest that the Meluhha gloss was a phonetic variant recorded in Pali etyma: sotthiya. This

gloss was represented on Sanchi stupa inscription and also on Jaina ayagapata offerings by

worshippers of ariya, ayira dhamma, by the same hieroglyph (either clockwise-twisting or anti-

clockwise twisting rotatory symbol of svastika). Linguists may like to pursue this line further to

suggest the semant. evolution of the hieroglyph over time, from the days of Sarasvati-Sindhu

civilization to the narratives of Sanchi stupa or Ayagapata of Kankali Tila.

[ svasti ] ind S A particle of benediction. Ex. O king! may it be

well with thee!; ! 2 An auspicious particle. 3 A term of sanction or

approbation (so be it, amen &c.) 4 Used as s n Welfare, weal, happiness. [ svastika ] n

m S A mystical figure the inscription of which upon any person or thing is considered to be

lucky. It is, amongst the , the emblem of the seventh deified teacher of the present era. It

consists of 卍. 2 A temple of a particular form with a portico in front. 3 Any auspicious or lucky

object.(Marathi)

svasti f. ʻ good fortune ʼ RV. [su -- 2, √as1]Pa. suvatthi -- , sotthi -- f. ʻ well -- being ʼ,

NiDoc. śvasti; Pk. satthi -- , sotthi -- f. ʻ blessing, welfare ʼ; Si. seta ʻ good fortune ʼ < *soti (H.

Smith EGS 185 < sustha -- ). svastika ʻ *auspicious ʼ, m. ʻ auspicious mark ʼ R. [svastí --

]Pa. sotthika -- , °iya -- ʻ auspicious ʼ; Pk. satthia -- , sot° m. ʻ auspicious mark ʼ;

H. sathiyā, sati° m. ʻ mystical mark of good luck ʼ; G. sāthiyɔ m. ʻ auspicious mark painted on

the front of a house ʼ.(CDIAL 13915, 13916)

Nibbānasotthi (welfare). saccena suvatthi hotu nibbānaŋ Sn 235.Sotthi (f.) [Sk. svasti=su+asti]

well -- being, safety, bless ing A iii.38=iv.266 ("brings future happiness"); J i.335; s. hotu hail!

D i.96; sotthiŋ in safety, safely Dh 219 (=anupaddavena DhA iii.293); Pv iv.64(=nirupaddava

PvA 262); Sn 269; sotthinā safely, prosperously D i.72, 96; ii.346; M i.135;

J ii.87; iii.201. suvatthi the same J iv.32. See sotthika & sovatthika. -- kamma a blessing J i.343. -

- kāra an utterer of blessings, a herald J vi.43. -- gata safe wandering, prosperous journey Mhvs

8, 10; sotthigamana the same J i.272. -- bhāva well -- being, prosperity, safety J i.209; iii.44;

DhA ii.58; PvA 250. -- vācaka utterer of blessings, a herald Miln 359. -- sālā a hospital Mhvs 10,

101.Sotthika (& ˚iya) (adj.) [fr. sotthi] happy, auspicious, blessed, safe VvA 95; DhA ii.227

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(˚iya; in phrase dīgha˚ one who is happy for long [?]).Sotthivant (adj.) [sotthi+vant] lucky,

happy, safe Vv 8452.Sovatthika (adj.) [either fr. sotthi with diaeresis, or fr. su+atthi+ka=Sk.

svastika] safe M i.117; Vv 187 (=sotthika VvA 95); J vi.339 (in the shape of a svastika?);

Pv iv.33 (=sotthi -- bhāva -- vāha PvA 250). -- âlankāra a kind of auspicious mark J vi.488. (Pali)

[quote]Cunningham, later the first director of the Archaeological Survey of India, makes the

claim in: The Bhilsa Topes (1854). Cunningham, surveyed the great stupa complex at Sanchi in

1851, where he famously found caskets of relics labelled 'Sāriputta' and 'Mahā Mogallāna'. [1]

The Bhilsa Topes records the features, contents, artwork and inscriptions found in and around

these stupas. All of the inscriptions he records are in Brāhmī script. What he says, in a note on

p.18, is: "The swasti of Sanskrit is the suti of Pali; the mystic cross, or swastika is only a

monogrammatic symbol formed by the combination of the two syllables, su + ti = suti." There

are two problems with this. While there is a word suti in Pali it is equivalent to Sanskrit

śruti'hearing'. The Pali equivalent ofsvasti is sotthi; and svastika is either sotthiya or sotthika.

Cunningham is simply mistaken about this. The two letters su + ti in Brāhmī script are not much

like thesvastika. This can easily been seen in the accompanying image on the right, where I have

written the word in the Brāhmī script. I've included the Sanskrit and Pali words for comparison.

Cunningham's imagination has run away with him. Below are two examples of donation

inscriptions from the south gate of the Sanchi stupa complex taken from Cunningham's book

(plate XLX, p.449).

"Note that both begin with a lucky svastika. The top line reads 卐 vīrasu bhikhuno dānaṃ - i.e.

"the donation of Bhikkhu Vīrasu." The lower inscription also ends with dānaṃ, and the name in

this case is perhaps pānajāla (I'm unsure about jā). Professor Greg Schopen has noted that these

inscriptions recording donations from bhikkhus and bhikkhunis seem to contradict the traditional

narratives of monks and nuns not owning property or handling money. The last symbol on line 2

apparently represents the three jewels, and frequently accompanies such inscriptions...Müller [in

Schliemann(2), p.346-7] notes that svasti occurs throughout 'the Veda' [sic; presumably he

means the Ṛgveda where it appears a few dozen times]. It occurs both as a noun meaning

'happiness', and an adverb meaning 'well' or 'hail'. Müller suggests it would correspond to Greek

εὐστική (eustikē) from εὐστώ (eustō), however neither form occurs in my Greek Dictionaries.

Though svasti occurs in the Ṛgveda, svastika does not. Müller traces the earliest occurrence of

svastika to Pāṇini's grammar, the Aṣṭādhyāyī, in the context of ear markers for cows to show

who their owner was. Pāṇini discusses a point of grammar when making a compound using

svastika and karṇa, the word for ear. I've seen no earlier reference to the word svastika, though

the symbol itself was in use in the Indus Valley civilisation.[unquote]

1. Cunningham, Alexander. (1854) The Bhilsa topes, or, Buddhist monuments of central India :

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comprising a brief historical sketch of the rise, progress, and decline of Buddhism; with an

account of the opening and examination of the various groups of topes around Bhilsa. London :

Smith, Elder. [possibly the earliest recorded use of the word swastika in English].

2. Schliemann, Henry. (1880). Ilios : the city and country of the Trojans : the results of

researches and discoveries on the site of Troy and through the Troad in the years 1871-72-73-78-

79. London : John Murray.

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

The purport of this monograph is to collate evidence on dharma from archaeological and lexical

sources and evaluate the evidence in the context of inscriptions of Indus writing and related

Meluhha hieroglyphs of Indian sprachbund. to provide a framework for narrating Itihasa of

Bharatam Janam, 'History of ancient metalcasters' during the Bronze Age.

Thanks to James G. Lochtefeld of Carthage College who has produced exquisite phographs from

Sanchi sculptural reliefs which provide glimpses to the lives of ancient Bharatam Janam.

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Bharhut sculptural relief. The center-piece is the slab with hieroglyphs (sacred writing) held on

the platform which holds a pair of 'srivatsa' hieroglyph compositions. The artist is conveying the

key interpretative message that the composition contains inscribed, engraved, written symbols

(hieroglyphs). The hieroglyphs are read rebus using Meluhha glosses to explain the veneration

of ayira-ariya dhamma. A related life-activity reading: ayira 'fish' rebus: aya 'metal

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alloy'; karada 'saffower' rebus: karada 'hard alloy of metal'. This is work done in kole.l 'smithy'

rebus: kole.l 'temple'.

The central hieroglyphs flanked by two 'srivatsa' hieroglyphs are a pair of spathes:

Hieroglyph: दळ (p. 406)[ daḷa ] द (p. 404) [ dala ] n (S) A leaf. 2 A petal of a flower. dula 'pair'

Rebus: metalcast: ळ [ ḍhāḷa ] Cast, mould, form (as of metal vessels, trinkets &c.) dul 'cast

metal'. The three 'x' on this frame are also hieroglyphs: kolmo 'three'

Rebus: kolami 'smithy' dATu 'cross' rebus: dhatu 'mineral'. Thus, the sculptural composition is a

narrative of work in a Meluhha smithy.

Many reliefs depict life-activities of people. Many symbols are hieroglyphs read rebus, related to

dharma and archaeometallurgy, lapidary work on semiprecious stones and work with sea-shells

(turbinella pyrum).

Fire altar. Smith at work. In front of the hut, smithy. Tree on field.

Swan or goose on field. kanda 'fire-altar' (Santali)

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Sanchi sculptural relief: What is the fire altar flanked by two roofed huts?

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Veneration of the tree, surrounded by dwarfs, gaNa. kuTi 'tree' Rebus: kuThi 'smelter'

Hieroglyph composition of spathe+ molluscs clanked by elephants.

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Hieroglyph: spathe, buds flanked by molluscs -- atop a ring flanked by two petas, dala 'petal'.

DhALako 'ingot'

Venerated tree, garlanded. gaNa and worshippers. Tree atop ingot slab.

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Lakshmi flanked by elephants. Divinity of wealth. Hieroglyphs: ibha 'elephant' rebus: ib 'iron'

(Santali) dula 'pair' rebus: dul 'cast metal'. Hence, dul ib 'cast iron'.

Kaustubha (Sanskrit :) is a divine jewel or "Mani", belongs to Divinity Vishnu who lives

in the Ksheera Sagara - "the ocean of milk". Kaustubha is one of the fourteen treasure jewels

(Ratna) that emerged from the churning of the ocean, kshirasagara manthanam. Divinity Shiva

that nobody in the universe except Divinity Vishnu could handle the brilliance and magnificence

of this "Mani" (javheri), since it could corrupt the bearer by infusing in him or her a greed to

carry it forever. Kaustubha adorns the neck of Hindu Divinity Vithoba as a green color

pearl in Pandharpur Hindu temple. For remembered memory of ancient activities of pitr-s, see

the name khirsara given to a village with an archaeological site in the Indian Ocean coastline of

Sarasvati-Sindhu (Hindu) civilization.

See: http://bharatkalyan97.blogspot.in/2015/02/khirsara-provides-archaeometallurgical.html

Khirsara provides archaeometallurgical evidence of rudimentary, practical knowledge of

litharge, metaphor of Samudramanthanam narrative and an evolutionary History of Hindu

Chemistry

Kaustubha ratna held in the hand of the cosmic dancer in a sculptural relief.

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marakatam, n. < marakata. 1. Emerald, one of nava-maṇi, q.v.;

.

( . 5, 147). 2. Green colour; . ( . . 7). marakata-mēṉiyaṉ, n. < +. Viṣṇu, as green in color;

. (W.)

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14

Ayagapata

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Foliage motif. Fish tied in a pair of molluscs, flanking two arches 'M' shaped enshrining two

slabs (with script) hangi 'molusc' Rebus: sanghi 'member of sangha, community' dAma 'tying'

Rebus: dhamma 'dharma, consciousness-cosmic ordering'. ayira 'fish' rebus: ayira, ariya 'person

of noble character, dharmin'.

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Sanchi relief. Monkeys, tree, archer.

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Sanchi reliefs. Adoration of tree with garlands.

Source: http://personal.carthage.edu/jlochtefeld/buddhism/sanchi/wginterior.html Thanks

to James G. Lochtefeld

Prof. of Religion, Carthage College

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Buffalo heads on field of sculptural relief together with tree, bulls, antelopes, archers. Sanchi

relief.Western gateway. Top right: a fire altar is flanked by two huts, smithies, brick-kilns.

Bharhut. Cock on tree and lion (tiger?) in front of smithy brick-kiln.

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A smith at work. Relief also shows roof of smithy with a base or bricks. On the left is the pair of

inerted fish-tails. Bharhut coping from stupa, Cleveland Museum, Sunga, India, 2nd Century,

B.C., Sculpture and painting- The Cleveland Museum, ACSAA

See: Molluscs on Susa ritual basin compared with Molluscs on Sanchi Monument Stupa II

Huntington Scan Number 0010873 (See more examples in:

http://www.scribd.com/doc/13267649/Resources-Hieroglyphs-Ancient-Indian-

Tradition) See: http://bharatkalyan97.blogspot.in/2014/10/meluhha-hieroglyphs-evidence-

of.html

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Meluhha hieroglyphs: evidence of continuum in ancient dharma-dhamma traditions

Vasu, daughter of courtesan Lavana Sobhika pink sandstone 73 cm.height. Government

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Museum, Mathura, Uttar Pradesh, India

Figure 16 Jaina tablet c. 1cent. CE: Inscribed table with carving of Jain stupa with wheel (top

left). Photo: Huntington Archive 0000834. The entrance torana is adorned with two 'srivatsa'

hieroglyphic compositions.

Dhamma 'rope, garland' venerated as icon

in a temple. Figure 14: Shrine around a Bodhi tree at Bharhut. Photo: Huntington Archive

0004802.During the historical periods, the possible readings of the hieroglyphs are:

Pair of fishes: dul aya 'cast metal alloy' Molluscs: śāṅkhika ʻ relating to a shell ʼ śāṅkhinī -- (śaṅkhinī -- f. ʻ mother -- of -- pearl ʼ

Bālar.). 1. K. hāngi ʻ snail ʼ; B. s khī ʻ possessing or made of shells ʼ.2. K. h gi f. ʻ pearl oyster

shell, shell of any aquatic mollusc ʼ(CDIAL 12380). Rebus: sanga 'stone'

(Kashmiri) sanga 'attached to'; 'caravan'. (CDIAL 13084, 13328) Svastika: sattva 'glyph' Rebus: jasta 'zinc'.

Safflower: [ karaḍī ] f (See ई) Safflower: also its seed. Rebus: [ karaḍā ] Hard from alloy--iron, silver &c (Marathi) karaḍa -- m. ʻsafflowerʼ, °ḍā -- f. ʻ a tree like the karañja ʼ

(Prakrit); M. karḍī, °ḍaī f. ʻ safflower, carthamus tinctorius and its seed ʼ. (CDIAL 2788).

Rebus: [karaḍā] Hard from alloy--iron, silver &c. (Marathi) kharādī ' turner, a person who

fashions or shapes objects on a lathe' (Gujarati) Portable furnace, lathe: śagaḍī = lathe (Gujarati) sangaḍa, ‘lathe, portable furnace’; rebus:

battle; jangaḍiy ‘military guard who accompanies treasure into the treasury’ (Gujarati)

Rebus: sanghāḍ (Gujarati) cutting stone, gilding (Gujarati); sangatarāśū = stone cutter (Telugu)

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Rope tying the fish-tails, garland: dhāma 'r pe, garland' Rebus: dhamaka 'blacksmith'; dam

'blast of furnace' (Kashmiri)(CDIAL 6730).Pk.dhamma-- m.; OB. dhāma ʻ religious conduct ʼ;

H. kāmdhām ʻ work, business ʼ; OSi. dama ʻ religion ʼ; dhárma m. ʻ what is established, law,

duty, right ʼ AV. [dhárman -- n. RV. -- √dhr ]Pa. dhamma -- m. (rarely n.), Aś.shah.

man. dhrama -- , gir. kāl. &c. dhaṁma -- ; NiDoc. dham a ʻ employment in the royal

administration ʼ;(CDIAL 6753). Glosses in the Indian linguistic area (sprachbund):

dāˊman ʻ rope ʼ RV. dāmana -- , dāmanī -- f. ʻ long rope to which calves are tethered ʼ Hariv.1.

Pa. dāma -- , inst. °mēna n. ʻ rope, fetter, garland ʼ, Pk. dāma -- n.; Wg. dām ʻ rope, thread,

bandage ʼ; Tir. dām ʻ rope ʼ; Paš.lauṛ. dām ʻ thick thread ʼ, gul. dūm ʻ net snare ʼ (IIFL iii 3, 54

← Ind. or Pers.); Shum. dām ʻ rope ʼ; Sh.gil. (Lor.) dōm ʻ twine, short bit of goat's hair cord ʼ,

gur. dōm m. ʻ thread ʼ (→ Ḍ. dōṅ ʻ thread ʼ); K. gu -- dômu m. ʻ cow's tethering rope ʼ;

P. d , dāv m. ʻ hobble for a horse ʼ; WPah.bhad. da n. ʻ rope to tie cattle ʼ, bhal. daõ m.,

jaun. d ; A. dāmā ʻ peg to tie a buffalo -- calf to ʼ; B. dām, dāmā ʻ cord ʼ; Or. d ʻ tether

ʼ, dāĩ ʻ long tether to which many beasts are tied ʼ; H. dām m.f. ʻ rope, string, fetter ʼ, dāmā m. ʻ

id., garland ʼ; G. dām n. ʻ tether ʼ, M. dāvẽ n.; Si.dama ʻ chain, rope ʼ, (SigGr) dam ʻ garland ʼ. --

Ext. in Paš.dar. damaṭāˊ, °ṭīˊ, nir. weg. damaṭék ʻ rope ʼ, Shum. ḍamaṭik, Woṭ. damṓṛ m.,

Sv. dåm ṛīˊ; -- with -- ll -- : N. dāml ʻ tether for cow ʼ,d ali, dā li, dāmli ʻ bird -- trap of

string ʼ, d al, dāmal ʻ coeval ʼ (< ʻ tied together ʼ?); M. d vlī f. ʻ small tie -- rope ʼ.

2. Pk. dāvaṇa -- n., dāmaṇī -- f. ʻ tethering rope ʼ; S. ḍ āvaṇ , ḍ āṇ m. ʻ forefeet shackles

ʼ, ḍ āviṇī,ḍ āṇī f. ʻ guard to support nose -- ring ʼ; L. ḍ vaṇ m., ḍ vaṇī, ḍā ṇī (Ju. ḍ -- ) f. ʻ hobble

ʼ, dā ṇī f. ʻ strip at foot of bed, triple cord of silk worn by women on head ʼ, awāṇ. dāv ṇ ʻ

picket rope ʼ; P. dā ṇ,da ṇ, ludh. daun f. m. ʻ string for bedstead, hobble for horse ʼ, dā ṇī f. ʻ

gold ornament worn on woman's forehead ʼ; Ku. da ṇ m., °ṇī f. ʻ peg for tying cattle to ʼ,

gng. dɔ ṛ ʻ place for keeping cattle, bedding for cattle ʼ; A. dan ʻ long cord on which a net or

screen is stretched, thong ʼ, danā ʻ bridle ʼ; B. dāmni ʻ rope ʼ; Or. daaṇa ʻ string at the fringe of a

casting net on which pebbles are strung ʼ, dā ṇiʻ rope for tying bullocks together when threshing

ʼ; H. dā an m. ʻ girdle ʼ, dā anī f. ʻ rope ʼ, d anīf. ʻ a woman's orna<-> ment ʼ;

G. dāmaṇ, ḍā° n. ʻ tether, hobble ʼ, dāmṇ n. ʻ thin rope, string ʼ, dāmṇī f. ʻ rope, woman's head -

- ornament ʼ; M. dāvaṇ f. ʻ picket -- rope ʼ. -- Words denoting the act of driving animals to tread

out corn are poss. nomina actionis from *dāmayati2. 3. L. ḍ varāvaṇ, (Ju.) ḍ v° ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves

together ʼ, Or. da rā, daürā ʻ rope ʼ; Bi. da rī ʻ rope to which threshing bullocks are tied, the act

of treading out the grain ʼ, Mth. d mar, da raṛ ʻ rope to which the bullocks are tied ʼ; H. d rī f.

ʻ id., rope, string ʼ, d rī f. ʻ the act of driving bullocks round to tread out the corn ʼ.Brj. d m.

ʻ tying ʼ.Brj. d rī f. ʻ rope ʼ.(CDIAL 6283).

Ayo & Aya (nt.) [Sk. ayaḥ nt. iron & ore, Idg. *ajes -- , cp. Av. ayah, Lat. aes, Goth. aiz, Ohg. ēr

(= Ger. Erz.), Ags. ār (= E. ore).] iron. The nom. ayo found only in set of 5 metals forming an

alloy of gold (jātarūpa), viz. ayo, loha (copper), tipu (tin), sīsa (lead), sajjha (silver) A iii.16 =

S v.92; of obl. cases only the instr. ayasā occurs Dh 240 (= ayato DhA iii.344);

Pv i.1013 (paṭikujjita, of Niraya). -- Iron is the material used kat)e)coxh/n in the outfit &

construction of Purgatory or Niraya (see niraya & Avīci & cp. Vism 56 sq.). -- In

compn. both ayo˚ & aya˚ occur as bases.I. ayo˚: -- kapāla an iron pot A iv.70 (v. l. ˚guhala);

Nd2 304 iii. d 2 (of Niraya). -- kūṭa an iron hammer PvA 284. -- khīla an iron stake S v.444;

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M iii.183 = Nd2 304 iii. c; SnA 479. -- guḷa an iron ball S v.283; Dh 308; It 43 = 90; Th 2, 489;

DA i.84. -- ghana an iron club Ud 93; VvA 20. -- gharaan iron house J iv.492. -- paṭala an iron

roof or ceiling (of Niraya) PvA 52. -- pākāra an iron fence Pv i.1013 = Nd2 304 iii. d 1. -- maya

made of iron Sn 669 (kūṭa); J iv.492 (nāvā); Pv i.1014 (bhūmi of N.); PvA 43, 52. -- muggara an

iron club PvA 55. -- sanku an iron spike S iv.168; Sn 667. II. aya˚: -- kapāla = ayo˚ DhA i.148 (v. l. ayo˚). -kāra a worker in iron Miln 331. -- kūṭa = ayo˚

Ji.108; DhA ii.69 (v. l.). -- nangala an iron plough DhA i.223; iii.67. -- paṭṭaka an iron plate or

sheet (cp. loha˚) J v.359. -- paṭhavi an iron floor (of Avīci) DhA i.148. -- sanghāṭaka an iron

(door) post DhA iv.104. -- sūla an iron stake Sn 667; DhA i.148.(Pali)

Ayira (& Ayyira) (n. -- adj.) [Vedic ārya, Metathesis for ariya as diaeretic form of ārya, of which

the contracted (assimilation) form is ayya. See also ariya] (n.) ariyan, nobleman, gentleman (opp.

servant); (adj.) arīyan, well-born, belonging to the ruling race, noble, aristocratic, gentlemanly

J v.257; Vv 396. -- f. ayirā lady, mistress (of a servant) J ii.349 (v. l. oyyakā); voc. ayire my lady

J v.138 (= ayye C.).(Pali)

Jain votive plaque. Ayagapata.Mathura UP, Kankali Tila. Kushana (2nd c. CE). 65 x 57.5

cm. National Museum, New Delhi

Matsya yugala, triratna, srivatsa, makara, dharma cakra, s’ankha, purnaghat.a are

remarkable metaphors.of stupa (sanchi and barhut) and also Bergram ivory/bone carvings. Some

of these glyphs also appear on the as.t.amangala (eight auspicious representations or metaphors)

haara worn by yakshi [other glyphs added include svastika, dhvaja or pennant, darpana (mirror)]

Swastika Urn in the Vatican Museum. (Thomas Wilson’s report).

Triratna ‘three gems’ is referred to as sampo or sambo ‘three jewels’ in Japanese.

25

Swastika-patta, Tablet of Homage carved with a Svastika, Mathura, from the JainaKankali

Tila at Mathura. About 1st century A.D. now preserved in Lucknow Museum.

Ayagapata. Kankali Tila. Jaina

stupa.

26

"Jain homage tablet. The tablet was set up by the wife of Bhadranadi, and it was found in

December 1890 near the centre of the mound of the Jain stupa at Kankali Tila. Mathura has

extensive archaeological remains as it was a large and important city from the middle of the first

millennium onwards. It rose to particular prominence under the Kushans as the town was their

southern capital. The Buddhist, Brahmanical and Jain faiths all thrived at Mathura, and we find

deities and motifs from all three and others represented in sculpture. In reference to this

photograph in the list of photographic negatives, Bloch wrote that, "The technical name of such

a panel was ayagapata [homage panel]." The figure in the centre is described as a Tirthamkara,

a Jain prophet."

http://www.cristoraul.com/ENGLISH/readinghall/UniversalHistory/INDIA/Cambridge/I/CHAP

TER_XXVI.html

Hieroglyph: arye 'lion' Rebus: arya 'person of noble character'

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

Wheel in Hindu, Jaina and Bauddham is a metaphor of consciousness-cosmic ordering in

cyclical rythm of time and space, which is dharma-dhamma.

Rebus: dhamma 'dharma' (Pali) Hieroglyphs: dām 'garland, rope':

Hieroglyphs: hangi, 'mollusc' tied to a fish: ayira 'fish' Rebus; ariya, ayira 'person of noble

character'.

Hieroglyphs: hangi 'mollusc' + dām 'rope, garland' d m. ʻtyingʼ; puci 'tail'

Rebus: puja 'worship'

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

27

Hieroglyph: Four hieroglyphs are depicted. Fish-tails pair are tied together.

The rebus readings are as above: ayira (ariya) dhamma puja 'veneration of arya dharma'.

ayira 'fish' Rebus:ayira, ariya, 'person of noble character'. yugala 'twin' Rebus: ळ (p.

323) [ juḷaṇēṃ ] v c & i ( S through ळ) To put together in harmonious connection or

orderly disposition (Marathi). Thus an arya with orderly disposition.

sathiya 'svastika glyph' Rebus: Sacca (adj.) [cp. Sk. satya] real, true D i.182; M ii.169; iii.207;

Dh 408; nt. saccaŋ truly, verily, certainly Miln 120; saccaŋ kira is it really true? D i.113; Vin

i.45, 60; J (Pali)

[ sāṅgāḍā ] m The skeleton, box, or frame (of a building, boat, the body &c.), the hull,

shell, compages. 2 Applied, as Hulk is, to any animal or thing huge and unwieldy.

[ sāṅgāḍī ] f The machine within which a turner confines and steadies the piece he has to

turn. Rebus: [ sāṅgātī ] a (Better ) A companion, associate, fellow.

Variants of the hieroglyph compositio on Jaina ayagapata appears on Sanchi stupa.

28

The relief shows a series of temples. The center-piece for each temple is a garland. The rebus

reading is: Rebus: dhamma 'dharma' (Pali) Hieroglyphs: dām 'garland, rope. The artist conveys

the message of Dhamma Temple, venerated by the worshippers. The bottom register shows a tree

representing smithy (kole.l 'smithy, temple' -- for karada 'safflower' rebus: karada 'hard alloy'):

kuTi 'tree' Rebus: kuThi 'smelter'. A garland on the tree connotes: dām 'garland' Rebus; dhamma

'dharma'. Thus together, the glosses are dhamma kole.l 'dharma temple'. The worshippers are

artisans working in smithy, temple: kole.l. A cognate gloss kolhe connotes 'smelter' as seen in

Maya's dream since she belongs to the guild of kolhe or koliya.

This relief shows puja to tree: Hieroglyph: kuTi 'tree' Rebus: kuThi 'smelter' (smithy). The

complex of hieroglyph readings rebus: kole.l 'smithy' rebus: kole.l 'temple'. The hieroglyph

29

composition of tied fish-tail pair emerges out of the roof of the brick kiln (smelter). This

ligaturing is comparable to the ligature of Ekamukha linga emerging out of the sloping roof

brick-kiln.

The worship of a smithy (smelter) as a temple is also seen in the artistic representations in

Mathura in the context of worship of Sivalinga (Ekamukha siva linga); this is a remarkable

affirmation of Bauddham, Jaina and Hindu traditions as composite gestalt of ancient Bharatam

Janam venerating natural phenomena as an extension of cosmic-consciousness order called

dharma-dhamma..:

Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2). This is the most emphatic

representation of linga as a pillar of fire. The pillar is embedded within a brick-kiln with an

angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. In this

composition, the artists is depicting the smelter used for smelting meD 'iron'

Linga worship relief. Bhutesvara, Mathura. 1st

cent. BCE (Fig. 5.1) The ling is in the centre of a brick-kiln. In the backgrouns a tree is shown.

A pair of dwarfs holding rope venerate the linga.

See: https://www.academia.edu/10841276/Textual_evidence_that_Rudra-

Siva_is_integral_to_Vedic_pantheon._So_is_linga_a_hieroglyph_denoting_metalwork_in_a_sm

ithy_temple

30

Dharma cakra. ariya sangha puja. This message is placed atop the ziggurat (dagoba,

dhatugarbha) pedestal.

Square seal (silver) from Karur, with symbols like the Srivatsa and legend "Kuravan". Ist century

B.C.E Source: http://www.frontline.in/static/html/fl2013/stories/20030704000207100.htm

31

Begram ivory Srivatsa. Catalogue Number: 50.021

Technique: Openwork

Material: Ivory?

Size: 12.6 x 4.6 cm

Marks:

Theme: Auspicious Symbols

Motif:

Description: Decorative band depicting a centrally positioned palmetto with, on either side, a

triratna.

Reference: Hackin 1954, p.187, fig.231

http://ecai.org/begramweb/

https://sarasvatihieroglyphs.wordpress.com/page/2/

See: Srivastava, A. L., 1979. The Srivatsa Symbol in Indian Art. In: EW, N. S., Vol. XXIX(1-4):

37-60. Bapat, P. V., 1953. Four Auspicious Things of the Buddhists: Srivatsa, Svastika,

Nandyavarta and Vardhamana. In: Indica, The Indian Hist. Res. Inst. Silver Jubilee Comm. Vol.,

Bombay, pp. 38-46.

32

The sheath of a warrior’s broadsword (closeup) is decorated with a 'nandipada'. Bharhut, c. 100

BCE Indian Museum, Calcutta. This 'nandipada'is part of the Srivatsa hieroglyphic composite

with the joining together of fish-tail pair situated above a dotted circle. The dotted circle

is ambaka ,'eye' as in tryambaka. Rebus: ambaka 'copper'. ayo 'fish' rebus: aya 'metal

alloy'. dula 'pair' rebus: dul 'cast metal'. On Sanchi stupa, the fishes may refer to ayira 'fish'

rebus: ariya, arya 'person of noble character' (Pali) in a semant. evolution of Mleccha/Meluhha

speech.

Drawing by Ananda Coomaraswamy. Kubera, King of Yakshas.In memory of Evelyn Svec

Ward, gift of her husband, William E. Ward 1991.148

Head of yaksha. pinkish, mottled sandstone, Overall - h:48.20 w:40.00 d:35.60 cm (h:18 15/16

w:15 11/16 d:14 inches). Gallery 245 Cleveland Art Museum. India Sunga period (185 to 72

BCE)

Detail of bead necklace worn by the yaksha shows a central bead flanked by two s’rivatsa glyphs

hanging upside down (circle topped by two fish tails perhaps similar to the detail shown of a pair

of s’rivatsa crowning the top panel of Sanchi stupa gate

torana).http://www.clevelandart.org/oci/midsize/1973/1973.66.jpg

https://sarasvatihieroglyphs.wordpress.com/page/2/

http://www.clevelandart.org/art/1991.148

33

Sanskrit: yakṣa

Prakrit/Pali: yakkha

is the name of a broad class of nature-spirits, usually benevolent, who are caretakers of the

natural treasures hidden in the earth and tree roots. They appear in Jain, Hindu and Buddhist

mythology. The feminine form of the word is Yakshi ( yakṣī) or Yakshini ( yakṣiṇī).

In Jain, Hindu, and Buddhist mythology, the yakṣa has a dual personality. On the one hand, a

yakṣa may be an inoffensive nature-fairy, associated with woods and mountains; but there is also

34

a darker version of the yakṣa, which is a kind of ghost (bhuta) that haunts the wilderness and

waylays and devours travelers, similar to the rakṣasas.

A black stone stele of Vishnu

Northeast India, Pala period, 12th century

Vishnu standing on a double-lotus base supported by Garuda and holding the mace, chakra,

conch, and lotus in his four hands, adorned with a festooned belt with the chest centered by a

srivatsa, the face with serene expression surmounted by a conical headdress, flanked by Lakshmi

on the left and Saraswati on the right, all backed by an aureole with rampant leogryphs and

35

apsaras surmounted by a kirttimukha

29½ in. (74.9 cm.) high.

Private collections. Germany.

A red sandstone figure of Brahma

India, Rajasthan or Madhya Pradesh, 11th/12th century

The three-headed deity with a srivatsa mark on his chest, adorned with multiple beaded

necklaces, belts and armbands, each face with hair pulled into a high chignon secured by an

elaborate tiara interlocked with the others, the central face with a beard, all backed by a lotus

halo

31½ in. (80 cm.) high.

36

Private collections. Germany.

Divinity Vishnu (Yale University Art Gallery)

A 13th century Cambodian statue of Vishnu

37

The overflowing pot held by the divinity on the left is a hieroglyph: lokhanDa 'pot overflowing

water' Rebus: lokhaNDA 'metal pots and pans, metalware, weapons'. The overflowing pots are

imageries on a cuneiform seals (unprovenanced).

Source: http://eden-saga.com/en/sumer-mythology-anunnaki-oannes-nommo-viracocha-serpent-

people-enki.html

38

Overflowing water kaNDa. Dang 'mountain' Rebus: dhangar 'blacksmith'. ayo 'fish' rebus: aya

'metal alloy'

39

Shell inlay: skirt-clad figure carrying fish, Early Dynastic III,

ca. 2600-2350 BCE, Mesopotamia, Nippur, Sumerian.metmuseum.org

SUMER SCULPTURE 5TH-2ND MILL.BCE Fish-man or

water-sprite. Terracotta figurine (8th-7th BCE) Length 12 cm Nr. 3337 Iraq Museum, Baghdad,

Iraq

40

A map showing the principal canals of Lower Mesopotamia (p. 34. Map 2. "Map of Sumer,

showing the course of ancient rivers and canals.

41

Overflowing pot. A cylinder seal of Enki (Ea) holding a pot with two streams of freshwater

seated in his Abzu/Apsu shrine guarded by two naked men (Lakhmu?) holding stylized gate

posts (?). Before him is his two-faced sukkal or vizier Izimud (cf. p. 98. "Ea." Piotr Bienkowski

& Alan Millard. Dictionary of the Ancient Near East. Philadelphia. University of Pennsylvania

Press. 2000).

Gudea. Overflowing pot.

Sumer.

42

43

Sumerian relief. Louvre.

Fish-garbed priest bas-relief on temple of the god Ninurta (Saturn) at Kalhu (biblical Calah), ca.

883-859 BCE Assurnasirpal II (p. 83. fig. 65.) Fish-men figurines, the so-called "seven sages"

(apkallu), sun-dried clay, from the foundations of a priest's house in Asshur ca. 721-705 BCE (p.

18.) Fish-man in a sea from a bas-relief in the palace of the Assyrian king Sargon II, ca. 721-705

BCE at Dur-Sharken, modern Khorsabad. (p. 131. fig. 107. "merman and mermaid." Jeremy

Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated

Dictionary. London, British Museum, in association with the University of Texas Press. Austin.

1992.

(picture cf. p. 15. figure 7. "Fish Gods at the Tree pf Life; Assyria, c. 700 BC." Joseph Campbell.

The Masks of God: Creative Mythology. New York. Viking Penguin. 1968. Reprinted 1976)

44

Myanmar (Burma), Pyu kingdom of Srikshetra (c.600-

37), Fractional-Unit, 2.72g, ribboned damaru rev. curved conch within srivatsa, (c.638-800),

Unit, 8.83g, similar obverse, rev. temple containing a stupa of 9 pellets (Mitch.SEA.418, 431)

An ancient Mon silver coin with a conch shell in a circle of dots (only partially visible now - see

photo) on the obverse and a Srivatsa (Temple of Sri, fertility goddess) on the reverse. The conch

or shell was a good luck symbol often associated with the Hindu god Vishnu. The conch is also

found on some Pyu and Chandra coins. The Mons were from southern Burma and founded the

kingdom of Dvaravati. Mon coins are typically thicker than the Pyu, this particular specimen is

between 2 and 3mm thick. It dates from approximately AD400 - AD500.

Diameter : 20mm Thickness : 2-3mm

Weight : approx.

7g http://www.nederlandsemunten.nl/Virtuele_munten_verzameling/Anders/burma/Verzameling

_Zilver_Burma.htm

Archaeological finds of Halin, Burma -iron, bronze weapons and hieroglyphs

45

Iron Hoes, Adzes And Spearheads Halin (Halin Monastery Museum)

Coins Excavated At Halin

46

Characteristic Halin Srivatsa Rising Sun Coin

The geographical location of Halin supports the idea of a special function such as salt production

rather than the prehistoric exploitation of networks of local streams for irrigation (see page 126).

Maps (Figure 95) show the former bed of the Mu to the east of the present Mu river (Digital

Chart of the World 1993), and a largely dry lake south of Halin (Burma One Inch series, 84

N/15). The geologically disrupted drainage system suggests that in prehistoric times this area

may not have had the same access to irrigation resources as Beikthano or Maingmaw. In the

Bagan period (Figure 96), the Mu canal was built from Myedu in the north, draining into the

lake, Halin In, as the area was opened up for irrigated farming, and this system was extended in

colonial times (Aung-Thwin 1990: 22-26, 72), but there is nothing to suggest that there was an

earlier system of canal irrigation. The Halin/Shwebo area contains a number of Bagan period

inscriptions (Figure 96), and there are similarities to Bagan in ceramics, with a red libation jar

from Halin overpainted in white lines and dots (Myint Aung 2003: 112-113) comparable to a

sample excavated in Bagan in 2003 (page 230).

47

Gold Filled Teeth Halin

48

Bronze Sword Handle Halin

Bronze Sword Handle Pommel Of Previous Figure Halin

49

Bronze Sword Handles Reverse View Of items in previous figures

Pyu coins, Burma (Pre-pagan period).

50

"Srivatsa (the beloved of Sri) is often mentioned along with Kaustubha. But

unlike Kaustubha, Srivatsa is not a gem or an ornament. It is a mark on his body. It is, in fact, a

lock of hair situated on his right chest (vakshasthala sthitha), curling towards the right. Its colour

resembles that of the jasmine; (shukla varna dakshinavarta romavali) .Vishnu is

thus Srivatsankita, the one who bears the sign of Srivatsa. It is said to symbolize Vishnu’s yogic

powers (yoga shakthi). It also represents the source of the natural world, the basic nature

(pradhana).

In the earlier depictions of the Vishnu image, Srivatsa was indicated as a small sized triangle (in

the form of three leaves) on his right chest. In the images of the latter periods, Srivatsa is in the

form of small-sized Lakshmi (Vyuha – LakshmI) with two arms. Some say, it is meant to suggest

that in this form, the jagrat state, Lakshmi the energy, is differentiated from Vishnu (the

Purusha).

[Interestingly, the Srivatsa sign also adores the images of the Jain Thirthankaras and of the

Buddha as well.]" http://sreenivasaraos.com/category/vishnu/

Hieroglyph: mollusc: śāṅkhika ʻ relating to a shell ʼ W. 2. *śāṅkhinī -- (śaṅkhinī -- f. ʻ mother --

of -- pearl ʼ Bālar.). [śaṅkhá -- 1]1. K. hāngi ʻ snail ʼ; B. s khī ʻ possessing or made of shells ʼ.2.

K. h gi f. ʻ pearl oyster shell, shell of any aquatic mollusc ʼ.(CDIAL 12380)

Rebus: sanghi 'member of the sangha' Sanghika (adj.) [fr. sangha] belonging to, or connected

with the Order Vin i.250. Sanghin (adj.) [fr. sangha] having a crowd (of followers), the head of

an order D i.47, 116; S i.68; Miln 4; DA i 143. -- sanghâsanghī (pl.) in crowds, with crowds

(redupl. cpd.!), with gaṇi -- bhūtā "crowd upon crowd" at D i.112, 128; ii.317; DA i.280. (Pali)

51

Smithy-forge in action depicted on a Sanchi sculptural relief. Artisans working in smithy.

Crucibles (with flames of fire) to bring out karada 'safflower' rebus: karada 'hard alloy of metal'.

Working with ingots. Transporting minerals in baskets. Working with hammer in the forge. The

narrative of the action takes place in front of kole.l 'smithy' rebus: kole.l 'temple'. The form is

dagoba, 'dhatugarbha' or 'womb of minerals' shaped like a stupa. Spathes, petals are shown in the

field denoting: Hieroglyph: दळ (p. 406)[ daḷa ] द (p. 404) [ dala ] n (S) A leaf. 2 A petal of a

flower. dula 'pair'

Rebus: metalcast: ळ [ ḍhāḷa ] Cast, mould, form (as of metal vessels, trinkets &c.) dul 'cast

metal' (p. 356) [ ḍhālakāṭhī ] f m A flagstaff; esp.the pole for a grand flag or

standard. 2 fig. The leading and sustaining member of a household or other commonwealth.

52

Buddha-pada (feet of Buddha), carved on a

rectangular slab. The margin of the slab was carved with scroll of acanthus and rosettes. The

foot-print shows important symbols like triratna, svastika, srivatsa,ankusa and elliptical objects,

meticulously carved in low-relief. From Amaravati, Andhra Pradesh, being assignable on

paleographical grounds to circa 1st century B.C --2

nd century AD,

53

54

Hieroglyphs: hangi 'mollusc' + dām 'rope, garland' Rebus: Sanghika dhamma.

Rebus: dhamma 'dharma' (Pali) Hieroglyphs: garland, rope: dāˊman1 ʻ rope ʼ RV. 2. *dāmana --

, dāmanī -- f. ʻ long rope to which calves are tethered ʼ Hariv. 3. *dāmara -- . [*dāmara -- is der.

fr. n/r n. stem. -- √dā2]1. Pa. dāma -- , inst. °mēna n. ʻ rope, fetter, garland ʼ, Pk. dāma -- n.;

Wg. dām ʻ rope, thread, bandage ʼ; Tir. dām ʻ rope ʼ; Paš.lauṛ. dām ʻ thick thread ʼ, gul. dūm ʻ

net snare ʼ (IIFL iii 3, 54 ← Ind. or Pers.); Shum. dām ʻ rope ʼ; Sh.gil. (Lor.) dōm ʻ twine, short

bit of goat's hair cord ʼ, gur. dōm m. ʻ thread ʼ (→ Ḍ. dōṅ ʻ thread ʼ); K. gu -- dômu m. ʻ cow's

tethering rope ʼ; P. d , dāv m. ʻ hobble for a horse ʼ; WPah.bhad. da n. ʻ rope to tie cattle ʼ,

bhal. daõ m., jaun. d ; A. dāmā ʻ peg to tie a buffalo -- calf to ʼ; B. dām, dāmā ʻ cord ʼ;

Or. d ʻ tether ʼ, dāĩ ʻ long tether to which many beasts are tied ʼ; H. dām m.f. ʻ rope, string,

fetter ʼ, dāmā m. ʻ id., garland ʼ; G. dām n. ʻ tether ʼ, M. dāvẽ n.; Si. dama ʻ chain, rope ʼ,

(SigGr) dam ʻ garland ʼ. -- Ext. in Paš.dar. damaṭāˊ, °ṭīˊ, nir. weg. damaṭék ʻ rope ʼ,

Shum. ḍamaṭik, Woṭ. damṓṛ m., Sv.dåm ṛīˊ; -- with -- ll -- : N. dāml ʻ tether for cow

ʼ, d ali, dā li, dāmli ʻ bird -- trap of string ʼ, d al, dāmal ʻ coeval ʼ (< ʻ tied together ʼ?);

M. d vlī f. ʻ small tie -- rope ʼ.2. Pk. dāvaṇa -- n., dāmaṇī -- f. ʻ tethering rope ʼ;

S. ḍ āvaṇ , ḍ āṇ m. ʻ forefeet shackles ʼ, ḍ āviṇī, ḍ āṇī f. ʻ guard to support nose -- ring ʼ;

L. ḍ vaṇ m., ḍ vaṇī, ḍā ṇī (Ju. ḍ -- ) f. ʻ hobble ʼ, dā ṇī f. ʻ strip at foot of bed, triple cord of silk

worn by women on head ʼ, awāṇ. dāv ṇ ʻ picket rope ʼ; P. dā ṇ, da ṇ, ludh. daun f. m. ʻ string

for bedstead, hobble for horse ʼ, dā ṇī f. ʻ gold ornament worn on woman's forehead ʼ;

Ku. da ṇ m., °ṇī f. ʻ peg for tying cattle to ʼ, gng. dɔ ṛ ʻ place for keeping cattle, bedding for

cattle ʼ; A. dan ʻ long cord on which a net or screen is stretched, thong ʼ, danā ʻ bridle ʼ;

B. dāmni ʻ rope ʼ; Or. daaṇa ʻ string at the fringe of a casting net on which pebbles are strung

ʼ, dā ṇi ʻ rope for tying bullocks together when threshing ʼ; H. dā an m. ʻ girdle ʼ, dā anī f. ʻ

rope ʼ, d anī f. ʻ a woman's orna<-> ment ʼ; G. dāmaṇ, ḍā° n. ʻ tether, hobble ʼ, dāmṇ n. ʻ thin

rope, string ʼ, dāmṇī f. ʻ rope, woman's head -- ornament ʼ; M. dāvaṇ f. ʻ picket -- rope ʼ. --

Words denoting the act of driving animals to tread out corn are poss. nomina actionis from

*dāmayati2.3. L. ḍ varāvaṇ, (Ju.) ḍ v° ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several

buffalo -- calves together ʼ, Or. da rā, daürā ʻ rope ʼ; Bi. da rī ʻ rope to which threshing

bullocks are tied, the act of treading out the grain ʼ, Mth. d mar, da raṛ ʻ rope to which the

55

bullocks are tied ʼ; H. d rī f. ʻ id., rope, string ʼ, d rī f. ʻ the act of driving bullocks round to

tread out the corn ʼBrj. d m. ʻ tying ʼ.3. *dāmara -- : Brj. d rī f. ʻ rope ʼ.(CDIAL 6283)

Hieroglyph: gāb(h)ā ʻ foetus, spathe of a plant,gābhā m. ʻ new leaf springing from centre of

plaintain tree ʼ, gāb m. ʻ pulp, pith ʼgābb ʻ inner core of plaintain stem ʼ; (CDIAL

4055) Rebus: Dhātughara "house for a relic," a dagoba SnA 194. (Pali)

Thus, dhatu garbha ghara or dagoba is a metaphor for a smithy as a womb of minerals in a

smelter. Hence, a smelter-smithy is a temple. Synonym glosses are: kole.l 'smithy, temple',

kuThi 'smelter', guDi 'temple' (Telugu). Hieroglyphs in the garbhagriha are the icons, also

rendered as utsava bera, bronze murti taken on processions in the samajam on days of festivity.

Hieroglyph: pádika ʻ going on foot ʼ Pāṇ.gaṇa. [pád-- 2] Kho. (Lor.) poi ʻ on foot ʼ.(CDIAL

7763), Rebus: *cakrapati ʻ universal ruler ʼ. [cakrá -- , páti -- ]Pk. cakkavaï -- (→

OAw. cakkavaï ʻ universal sovereign ʼ); G. cakve adv. ʻ as sole ruler ʼ.(CDIAL 4544)

Stupa venerated.

56

57

Ashokan pillar. Sanchi. Ariya dharma chakra.

58

59

60

Sanchi.

Venerating the tree in a temple.tree (kuTi) rebus: kuThi 'smelter'. kole.l 'smithy' Rebus: kole.l

'temple'.

61

Venerating the seafaring merchants and artisans, pitr-s. Hieroglyphs

of dala 'petal', karada 'safflower', karandava 'goose', Rebus: Rebus: metalcast: ळ [ ḍhāḷa

] Cast, mould, form (as of metal vessels, trinkets &c.); karaDa 'hard alloy of metals'.

62

63

Ruins of Sanchi stupa.

Western gateway. Sanchi. Yakshas.

Composite creature, Stupa II. The depiction displays the oneness of all life forms. It is a

delightful and joyous creature, with the features of an elephant, a cow, a deer and even a horse.

64

Monkey brings Honey for the

Buddha, pillar of the North Gateway.

65

West Gateway, inner face.

66

67

Shalabhanjika, East Gateway.

68

Worship of Seven Buddhas, represented by trees,

East Gateway. The seven Manushi Buddhas are the Buddhas, or Enlightened Ones, of the world,

of whom Gautama Buddha is one.

Indra with "VAJRA", pillar of East Gateway. Indra is one

of the earliest deities seen in Buddhist art.

Sanchi stupa reliefs

69

70

Long Archaeology Gallery of Indian Museum, Kolkata.

Yakshi - Railing Pillar - 2nd Century CE - Sand Stone - Mathura -

71

Yakshi Rail Pillar, Cleveland Museum, Kushan-Mathura, India, 2nd Century, A.D., Sculpture

and painting- The Cleveland Museum, ACSAA

72

Female figure standing on a mythological creature, from Begram, Afghanistan, 1st-2nd century

73

74

November 2014 Cat. no. 1

YAKSHI TORSO NORTHERN INDIA UTTAR PRADESH, MATHURA REGION KUSHAN

PERIOD 2ND – 3RD CENTURY AD H. 43 CMS, 17 INS A voluptuous mottled red (sikri)

sandstone torso of a yakshi (a nature spirit), with her left hand resting on her hip, her hair in a

long straight braid trailing down her back, adorned with elaborate jewellery including a pair of

multi-strand necklaces and a jewelled belt, with scarves trailing down her left side and across her

left thigh. Female figures of this type are reminiscent of yakshis (nature spirits) recalling the

Salabhanjika (‘tree fertilising’) pose found in ancient Indian sculpture. The devata grasps a

branch, forcing nature to wake from dormancy and causing the tree to bloom. Mathura is located

on the right bank of the Yamuna, a tributary of the Ganges some 150 km south of Delhi in Uttar

Pradesh. It sits at the junction of India’s trade routes and by the first century AD was a thriving

75

religious and commercial centre. Described by Ptolemy as a ‘City of Gods’, early Indian texts

state that the inhabitants lived by trade rather than by agriculture. Hinduism, Buddhism and

Jainism all coexisted peacefully, along with the worship of nature-spirits. Mathura sculpture is

typically produced from mottled red (sikri) sandstone, quarried locally. Popular motifs include

sensuous young women, mythical beasts, nature and water spirits (yakshis and nagas),

architectural elements, flora and fauna, and bacchanalian scenes. Mathura sculpture is often

fleshy and full figured, and its protagonists (both religious and secular) are dressed in diaphanous

clothing with multiple folds. While its form is essentially Indian, the influences of Greece and

Rome, assimilated via the Silk Road, are also present. For two similar yakshi torsos, see cat. nos.

36 and 37 in S. J. Czuma, 1985. For a similar yakshi torso in the Metropolitan Museum, see cat.

no. 8 in M. Lerner, 1984. PROVENANCE: Private English collection.

http://www.asianartresource.com/individual.php?ID=21&Name=TGF0ZXN0IENhdGFsb2d1ZQ

==

Mould for a plaque with a bejewelled goddess or yakshi (nature spirit) with female attendant

Associated place

Bengal (place of creation)

Chandraketugarh (probable place of creation)

Date

late 2nd century - early 1st century BC

Material and technique

terracotta

Dimensions

23.2 x 24 x 4 cm max. (height x width x depth)

Material index

terracotta

Object type index

plaque-mould

No. of items

1

Credit line

Presented by the Friends of the Ashmolean Museum, 1993.

Accession no.

EA1993.35

76

77

Yakshi

India, Mathura

2nd century

Red sandstone

Height: 27 in. (68.6 cm.)

Yakshi

India, Uttar Pradesh, Mathura

Yakshi

Kushan period, 2nd century

Red sandstone

85 x 29.2 x 28 cm

Kate S. Buckingham Endowment 1995.260

A yakshi is a female earth spirit, accepted as a symbol of fertility by theHindu, Buddhist,

and Jain faiths. She is usually portrayed as a wide-hipped, voluptuous woman, who can cause a

tree to bear fruit simply by touching it with her foot. The figure portrayed here is cleverly

incorporated into the form of a column, the capital of which takes the form of a leafy tree. Her

upper hand grasps a branch of the tree, a traditional gesture in sculptures of yakshi. This posture

is one of giving birth, allowing the pull of gravity (the earth receiving) to assist in the delivery of

life. The yakshi's three-bend pose (tribanga), bending at her neck, waist, and hips, is a stance that

suggests a sensuous liveliness and maternal energy. This representation also shows the figure

adorned with jewelry and the suggestion of a transparent skirt, revealing an abundantly endowed

female body that symbolizes the fertility of the earth.

Sculptures of yakshi are often seen in elaborate architectural motifs on the façades of temples

and stupas. Figures such as this one, often recognized as "mother-goddesses," date back to

the Indus Valley civilization (2500–1750 B.C.), the earliest known urban culture of India.

http://www.artic.edu/aic/collections/exhibitions/Indian/Yakshi

78

Standing Yakshi, 1-320 India, Kushan period, Mathura school, 2nd century

79

Princess at an entrance.Ivory carving. Begram,Kushan 2nd AD Kabul Museum

80

Yakshi talking to pet parrot.Rail pillar from Bhutesar, Mathura.Kushan, 2nd century AD. Indian

81 Museum Calcutta

82

YAKSHI, STUPA RAILING, Kankali, Mathura region, 2nd century B.C., Mathura State

Museum. The trees and the fruit of the natural world spring forth at the touch of the yakshi.

83

Yakshi, Bharut stupa railing, 2nd century B.C., Indian Museum, Kolkata. This deity is the

earliest personification of overflowing wealth in the art of all Indic faiths.

LAKSHMI, KUSHANA PERIOD, Mathura region (National Museum, New Delhi). The earliest

formalised deity seen everywhere in Indian art is Lakshmi. She embodies the abundant

fruitfulness and bounty of nature

Yakshi with fruit and urn, Kushana period, from a stupa railing pillar (Government Museum,

Mathura). Images of the natural world met the devotee as he circumabulated

84

85

86

Sonkh.

87

Yakshi with a mirror

Bas-relief in railing pillar of Buddhist stupa at Sanghol

Punjab, India

Matura school of sculpture

88

Yakshi carrying wine flasks

Bas-relief in railing pillar of Buddhist stupa at Sanghol

Punjab, India

Matura school of sculpture

89

90

Salabhanjika; Yakshi

Object:

Figure

Place of origin:

Mathura, India (made)

Date:

2nd century (made)

Artist/Maker:

Unknown (production)

Materials and Techniques:

91

Mottled red sandstone

Museum number:

IM.72-1927

Gallery location:

South-East Asia, room 47b, case EXP

This double-sided pillar bracket relief was reportedly recovered from a Jain stupa (shrine) site at

Mathura. Carved in mottled red sandstone, it represents Vrikshaka, a female nature-spirit

guardian (‘yakshi’).

She stands with her right arm raised over her head to hold the branch of a flowering Ashoka tree

and is decked with courtly jewellery. Her left hand rests on the richly bejewelled girdle which

she wears on her hips. Around her neck she wears two bead-necklaces, each forearm is covered

with bracelets and her ears have large jewelled earplugs. The figure is seemingly naked.

However, a ridge across the stomach and the sash falling down her left side indicate a skirt of

transparent diaphanous fabric, perhaps a fine muslin.

At some point in its post-excavation history this relief was sawn into two. This enabled both

faces to be exhibited and it was assigned two museum numbers (IM.72-1927 and IM.73-1927). It

was restored as a single object in the 1980s.

http://collections.vam.ac.uk/item/O25074/salabhanjika-yakshi-figure-unknown/

92

Vrikshadevi, Kushana period, a curved architectural

fragment of a stupa railing, Sonkh (Government Museum, Mathura). Yakshas and Yakshis

abound in the art of Buddhist, Jaina and Brahmanical monuments. They embody the fertility and

bounteous vigour of nature.

93

the stupa

Railing Pillar of a Stupa (detail). From Bhutesvara (Bhutesar), northern India. Red sandstone.

Mathura school. Kusana period, 2nd century AD. Mathura Museum. One of a number of pillars

housed in the museums of Mathura and Calcutta. A young woman, possibly a yaksi, holds a

bunch of grapes in her right hand and a pot of wine on her left.

Yakshi with parrot

94

India; Uttar Pradesh, Mathura

2nd c. - 3rd c.

sandstone

H. 69 cm W. 19 cm, D. 14 cm

95

Vrikshadevi, Kushana period, Jaina stupa railing, Kankali Tila (Government Museum,

Lucknow). The vitality and exuberance of nature is beautifully expressed in all monuments of

this period that survived in north India as well as in the rock-cut caves of western India, such as

at Karle

Worshippers bearing garlands at a stupa, from the coping stone of a stupa railing, 1st century

96

B.C., Sarnath (ASI Museum, Sarnath). From the earliest times in the Indian subcontinent, stupas

were worshipped in the Buddhist, Jaina and other faiths.

Depiction of torana, or gateway, of stupa, a fragment of a Jaina stupa railing, Kankali Tila, near

Mathura (Government Museum, Lucknow). In ancient times, the symbols and motifs of the art of

all faiths in India were the same. This depiction is identical to the toranas of Buddhist stupas of

early times

97

Woman's Shringhar, Kushana period, scene on a pillar railing (Government Museum, Mathura).

The grace and delicacy of the human form is sensitively expressed in this scene, which meets the

worshipper's eye as he goes around the stupa

98

Naga Deities, Kushana period, horizontal beam (Government Museum, Mathura). Nagas are

among the earliest deities to be depicted. They are seen in the art of all religious faiths.

Ek Mukhi Siva Linga, Kushana period (Government Museum, Lucknow). The Siva Linga is one

of the most profound symbols of humankind. It is the "mark" of the unmanifest eternal

manifesting itself in innumerable forms of the world. Simultaneously, it embodies the vital

forces of nature in the manifest world.

99

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

100

The Didarganj Yakshi is a fine specimen of Mauryan art. Almost 2000 years old, it stands five

feet four inches and is carved out of a single stone. It is an exquisite carving and almost true to

life. Government of India, has used her figure as a fine art ambassador and she has travelled to

many countries.

Didarganj. Yakshi.

The Didarganj Yakshi (or Didarganj Chauri Bearer) is one of the finest examples of Mauryan

art.[1]

The sculpture is currently located in the Patna Museum in Bihar, India. It is 64" tall, carved out

of a single piece of stone. [2] This life-size standing image is tall, well-proportioned, free-

standing sculpture is made of sandstone with well polished surface. The chauri is held in the

right hand whereas the left hand is broken. The lower garment create a somewhat transparent

effect. The Didarganj Yakshi is estimated to date from ca. 3rd century BCE. [3] It was excavated

from Didarganj, on the banks of the Ganges River, in 1917.

The Yakshi was moved to the Patna museum by noted archaeologist and historian, Dr. J N

Samaddar. A specialist in Buddhist history and artefacts, Professor Samaddar carried on

extensive archaeological digs throughout the areas inhabited by the Buddha, his follower the

emperor Ashoka as well as documentation and excavation of architecture and artefacts of the

Gupta empire and Maurya dynasty. He was also responsible for much of the work carried on for

the archaeological surveys of the Nalanda University seen as one of the finest examples of higher

education facilities during Buddhist India. Samaddar published several books on Buddhist

history, most noted amongst which is the condensation of his lecture series "The Glories of

Magadha."

The statue's nose was damaged during a travelling exhibition, The Festival of India, en route to

Smithsonian Institution and the National Gallery of Art, Washington, D.C., USA.

101

The Didarganj Chauri Bearer is widely viewed by archaeologists as one of the finest and most

precious artefacts of ancient Indian sculptural art.

References[edit]

Chaudhary, Pranava K (28 September 2006). "A fortress chockfull of chinks". Indiatimes.

Retrieved 17 February 2011.

Bengal Archeology website, "Didarganj Yakshi" (7 March 2009) [1], accessed 30 August 2011.

Huntington, John C. and Susan L., The Huntington Archive - Ohio State University [2],

accessed 30 August 2011.

http://en.wikipedia.org/wiki/Didarganj_Yakshi

Buddha head, Kushana period (Government Museum, Mathura). A gentle and smiling expression

marks many Buddha depictions of this period

THE early art of India embodies deep philosophic concepts. It takes us on a journey through the

development of man’s spiritual thoughts: on a path that seeks the goal of the eternal Truth.

Beyond the sculpted gateways and railings, beyond the great entrances of the rock-cut caves,

beyond the surrounding walls of the temples lies the most sophisticated presentation of the

philosophic truth. Here is that which takes our attention away from the multiplicity of the forms

of the world to the concept of the formless eternal.

From early times and continuing to this day, in the mountain regions, stupas are often made by

placing a few pebbles one on top of another. As divinity is seen in the whole of creation, it is the

focus of our attention upon it that creates an object of worship. All that there is, is a

manifestation of the formless eternal, and we may see that Truth in any object that we choose to.

102

The Buddha, Kushana period, 2nd century A.D., Katra mound, Mathura region (Government

Museum, Mathura). The quality of prana, or inner breath, is evident in the figure. The quality of

animation and life marks this figure as a masterpiece of Kushana period art. It was donated by

Amoha-Asi, a nun, "for the welfare and happiness of all sentient beings". This is a common wish

expressed in donative inscriptions at Naga, Jaina and Buddhist sites of this period.

The followers of the Buddha enshrined his mortal remains in a number of stupas. Thus began a

tradition that spread to many countries. Later stupas housed the remains of other great teachers,

their personal belongings and also Buddhist teachings. Numerous stupas were made in the

Buddhist and Jaina traditions in India for many centuries. Similarly, there is the marvellous

philosophic concept embodied in the Siva Linga.

The Linga is the “mark” (with a secondary meaning as a phallic representation) of the formless

eternal taking on the forms of the world. A great and complex thought process is marvellously

encapsulated in one of the greatest symbols of the world. For instance, the great Siva Linga of

Tamil Nadu, the Aakasha Lingam of the Chidambaram temple. There is a curtain in front of it

representing the veils of our illusions. When we move this aside, there is nothing to be seen

beyond: that is the greatest Siva Linga. Tradition is still alive in the temple which holds that this

is the finest representation of the Upanishadic Truth.

In early Indian shrines from the 2nd century B.C. onwards, the focus was on meditation. The aim

was release from the cycle of the pain of life. The eternal themes were represented in art, and

personalities were not shown. Generalised depictions of men and women were seen along with

the natural world. Yakshas and Yakshisembodying the creative force of nature were a favourite

subject. The first formalised deity, seen from the 2nd century B.C. onwards, was Lakshmi being

lustrated by elephants. In the meantime, the Buddha, or the Enlightened One, was alluded to by

103

symbols of his achievement and of his presence.

The Buddha, Kushana period, 2nd century A.D., Peshawar Valley, Pakistan (National Museum,

New Delhi). The Gandhara art of the Peshawar Valley is known for some of the finest sculptures

made in dark grey schist. This statue is typically Gandharan in style with its long, flowing

drapery with heavy schematic folds.

Forms of the world were presented on railings and gateways as well as on the exteriors of rock-

cut caves. With the passage of time, forms of the life of the world were also brought into the

interior of the hall of meditation. However, in the heart of the shrine, there were no forms. The

gentleness of the figures one passed on the way to the shrine prepared one, until finally one could

meditate upon that which was formless and beyond the world of forms, beyond desire and pain.

In the north, Mathura was strategically placed at the entrance to the plains of the river Ganga.

Thus, it was a major junction for trade. It was also a great centre of culture and art. Under the

Kushanas, who ruled from the 1st to the 3rd century A.D., Mathura became the winter capital of

the empire.

104

Gandharan representation of the Mahaparinirvana, Kushana period, Gandhara region ( Indian

Museum, Kolkata). Whereas earlier art had focussed on the purely spiritual and philosophic

aspects of the message, attention in Gandhara was more on the life of the Buddha as a heroic

individual. Gandharan representations are full of the drama of his life story, as in this depiction

of the pathos of the moment of his passing away. Only the monk Subhadra is seen peaceful as he

is aware of the transitory nature of all life.

The Kushanas, or the Yeuh-Chih, were tribes who came from southern China. They patronised

Buddhism and the Brahmanas, as Indian kings had done before them. However, theirs was a

different vision.

The subject of art in India was eternal themes, not transient personalities. Trees and flowers,

birds and animals, mythical creatures, common people, creatures that combined these different

beings, all these were preented in art. So were Yakshas and Yakshis, who personified the spirit

and abundance of nature.

105

Emperor Kanishka, Kushana period, 1st century A.D. (Government Museum, Mathura). The

Kushanas, who hailed from southern China, were the first Indian kings to have portraits of

themselves made in their shrines. However, this tradition did not last for long in India, where

Upanishadic ideas prevailed.

In this vision, there were no portraits of kings even though they were benevolent to all streams of

religious thought. Jaina tirthankaras and Buddhas were also not depicted. They were alluded to

through symbols.

The Kushanas brought a different outlook with them. The coins made by the Kushanas were the

first in India to have portraits of kings on them. Near Mathura, as well as at their other capital at

Peshawar, they built royal shrines with images of themselves. There is a statue of Vima

Kadphises, described as “King of kings, Son of God”, made out of the typical red sandstone of

the Mathura school.

106

Bhikshu Bala's Bodhisattva, Kushana period, Sarnath (ASI Museum, Sarnath). The early Buddha

and Bodhisattva figures were based upon the Yakshas of the previous periods. They are

impressive in their monumentality and frontal formality

Another portrait statue has a similar inscription, this time bestowing royal and divine titles upon

Emperor Kanishka. He is dressed as a Scythian, with padded boots and heavy clothes. The

clothing is not in the Indian style, where it reveals the body shape.

The cult of the worship of kings did not last beyond the rule of the Kushanas. However, in this

period there was a new focus: the depiction of personalities in art. Images of Buddhas and

Bodhisattvas, Jaina tirthankaras, Siva, Vishnu, Kartikeya and other Hindu deities were created.

These followed the earlier models of the Yakshas and Nagas.

Maya's dream. Bharhut. ca. 2nd century BCE.

On the frieze, this hieroglyph is a pillar of light ligature on top with 'fish-tail-pair' and linga.

This is an archaeometallurgical hyroglyphic composition. Hieroglyphs:

107

1. mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda).

2. puci 'fish-tail' rebus: puja 'worship'.

3. dula 'pair' rebus: dul 'cast metal'

4. ayira 'fish' rebus: ariya,ayira 'person of noble character' OR ayas 'metal alloy'.

Thus, this artistic rendering on the Buddha's life-events is a metaphor of kole.l 'smithy'

rebus: kole.l 'temple' gets expanded with hieroglyphs denoting sacredness.

Queen Maaa's dream (Indian Museum, Kolkata). In the Gandhara region, with Greek and other

influences, the focus of art changed in the Kushana period. Events in the Buddha's life and

depictions of him became the main subject of art.

108

The dream of Maya, Gandhara, 2-3rd century. ZenYouMitsu Temple, The temple follows the

Shingon creed of Vajrayana Buddhism, which attaches particular importance to the origins of

Buddhism and its manifestation throughout history. Zenyōmitsu-ji has a rich collection of

authentic historical artifacts from India, Central Asia and China. Most notable is an exceptional

collection of art from Gandhara, which was gathered over the course of twenty years by the head

of the Temple. Setagaya, Tokyo.

109

Queen Maya's dream, East Gateway, an

excellent example of a narrative scene. According to Buddhist lore, the Buddha came to Queen

Maya as an elephant in her dream and entered her womb.

110

Queen Maya, the Buddha's

future mother

111

112

RAIL POST WITH A YAKSHI

113

Yakshi 2nd cent. sandstone

ACKLAND ART MUSEUM

The University of North Carolina at Chapel Hill

Campus Box 3400

Chapel Hill, NC 27599-3400

Phone: 919.966.5736

114

Yakshi putting on a necklace

Bas-relief in railing pillar

of Buddhist stupa at Sanghol

Matura school of sculpture

115

Yakshi's in Mathura art

Yakshi holding her necace and belt

Bas-relief in railing pillar of a Buddhist stupa

Matura school of sculpture

116

Bharhut (Hindi: ) is a village located in the Satna district of Madhya Pradesh,

central India. It is known for its famous relics from a Buddhist stupa. The Bharhut sculptures

represent some of the earliest examples of Indian and Buddhist art.

Contents

[hide]

1 Bharhut stupa

2 As representative of early Indian art

3 Inscriptions

4 Gallery

5 See also

6 Notes

7 External links

Bharhut stupa[edit]

The Bharhut stupa may have been first built by the Maurya king Ashoka in the 3rd century BCE,

but many works of art were apparently added during the Sunga period, with many friezes from

the 2nd century BCE.[1]

An epigraph on the gateway of the stupa mentions its erection "during

the supremacy of the Sungas by Vatsiputra Dhanabhuti".[2]

In 1873, Alexander Cunningham visited Bharhut. The next year, he excavated the site.[3]

J. D.

Beglar, Cunningham's assistant, continued the excavation and recorded the work through

numerous photographs.

The complex in Bharhut included a medieval temple (plate II), which contained a colossal figure

of the Buddha, along with fragments of sculptures showing the Buddha with images of Brahma,

117

Indra etc.[4]

Beglar also photographed a 10th-century Buddhist Sanskrit inscription,[5]

about

which nothing is now known.

The ruined stupa—nothing but foundations of the main structure (see Gallery)—is still in

Bharhut; however, the gateways and railings have been dismantled and reassembled at the Indian

Museum, Kolkata.[2]

They contain numerous birth stories of the Buddha's previous lives,

orJataka tales. Many of them are in the shape of large, round medallions. Two of the panels are

at the Smithsonian.[6][not in citation given]

As representative of early Indian art[edit]

In conformity with the early aniconic phase of Buddhist art, the Buddha is only represented

through symbols, such as the Dharma wheel, the Bodhi tree, an empty seat, footprints, or

thetriratana symbol.[6]

The style represents the earliest phase of Indian art, and all characters are depicted wearing the

Indian dhoti, except for one foreigner thought to be an Indo-Greek soldier, with Buddhist

symbolism. The Bharhut carvings are slightly earlier than the Sanchi carvings and the

earlierAjanta frescos.

An unusual feature of the Bharhut panels is the inclusion of text in the narrative panels, often

identifying the individuals.[7]

Inscriptions[edit]

The inscriptions found at Bharhut are of considerable significance in tracing the history of early

Indian Buddhism and Buddhist art. 136 inscriptions mention the donors. These include

individuals from Vidisha, Purika (a town somewhere in the Vindhya

mountains), Pataliputra(Bihar), Karhad (Maharashtra), Bhojakata (Vidarbha, eastern

Maharashtra), Kosambi (Uttar Pradesh), and Nasik (Maharashtra). 82 inscriptions serve as labels

for panels depicting the Jatakas, the life of the Buddha, former Manushi Buddhas, other stories

and Yakshas and Yakshinis.[7]

Gallery[edit]

Bharhut excavation

118

Medieval Buddha image

The descent of Buddha

Anathapindika illustration

Vedika pillar with Greek warrior. Bharhut, Madhya Pradesh, Sunga Period, c.100-80BC.

Reddish brown sandstone.[8]

Indian Museum, Calcutta(drawing).

Yakshi reliefs. Bharhut, 2nd century BCE.

The Yaksha relief at Bharhut being worshipped as Hanumanby local villagers

119

The ruined Bharhut Stupa; seen behind it is the Lal Pahadi (Red Mountain)

Inscriptions

Inscriptions

Inscriptions

Inscriptions

See also[edit]

Sanchi

Deorkothar

Notes[edit]

1. Jump up^ Marshall, John (1918). "An Historical and Artistic Description of Sanchi (pp.

7-29)". A Guide to Sanchi. Calcutta: Superintendent, Government Printing. p. 11.

Retrieved 29 September 2014.

2. ^ Jump up to:a b "Bharhut Gallery". INC-ICOM Galleries. Indian National Committee of

the International Council of Museums. Retrieved 29 September 2014.

3. Jump up^ Cunningham, Sir Alexander (1879). The Stûpa of Bharhut: a Buddhist

monument ornamented with numerous sculptures illustrative of Buddhist legend and

history in the third century B.C. London: W. H. Allen.

4. Jump up^ "General view of remains of Buddhist temple of later date than the Stupa,

Bharhut". Online Gallery. British Library. Retrieved 29 September 2014.

5. Jump up^ "Photograph of a slab with a Buddhist sanskrit inscription". Online

Gallery. British Library. Retrieved 29 September 2014.

6. ^ Jump up to:a b "The Art of Buddhism". The Freer Gallery of Art and Arthur M. Sackler

Gallery. Smithsonian Institution. 2008. Retrieved 29 September 2014.

7. ^ Jump up to:a b Luders, H.; Waldschmidt, E.; Mehendale, M. A., eds. (1963). "Bharhut

Inscriptions". Corpus Inscriptionum Indicarum II. Ootacamund:Archaeological Survey

of India.

8. Jump up^ D.N. Jha,"Early India: A Concise History"p.150, plate 17

Bharhut sculpture images

120

Birth of classic form, BENOY K. BEHL, Frontline, Volume 24 - Issue 17 :: Aug. 25-Sep.

07, 2007, covering the art of the Bharhut Stupa

Life of the Historical Buddha on the Bharhut Railing

Medallions from Barhut

Railing at Indian Museum

http://en.wikipedia.org/wiki/Bharhut

121

122

FIG. 20. ANCIENT INDIAN COIN.

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

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

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

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

Satavahana coin, Copper, die-struck symbol of lion standing to right and a bigSwastika above

on obverse, tree on reverse with a counter mark. As these coins are un-inscribed their issues

cannot be ascertained with certainty. They ae actually regarded as the earliest coins of India.

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

lipi (script).

Kuninda, an ancient central Himalayan kingdom, c. 1st century BCE, silver coin. Rev:

Stupa surmounted by the Buddhist symbols triratna, surrounded by a Swastika, a "Y" symbol,

and a tree in railing. Legend in Kharosthi script.

Corinthia, Circa 550-500 BC. Stater (Silver). Pegasos, with curved wing, flying to left; below,

koppa. Reverse. Incuse in the form of a Swastika to left. (Source: Wikipedia)

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

Bharhut

123

Relief from Bharhut.

The Jataka story of the cock

and the cat from the Bharhut stupa, 150 BCE. The words above the picture are: BiDalo

Jataka KukuTa Jataka

A sculpture of the Kukuta-Jataka from the Bharhut Stupa (c.150 BCE) now in the Calcutta

Museum.

The Jataka story called Kukuta-Jataka is No. 383 in: Cowell, EB, 1897, The Jataka or stories of

the Buddha's former births, Vol. III, Cambridge at the University

124

Press http://www.archive.org/stream/jatakaorstoriesofb03cowe#page/n7/mode/2up (pp. 168-169)

A black-and-white picture of this sculptural relief adorns the page opposite the front title page of

the book.

A reference to the stories as related to the period of Buddha's previous births is instructive. The

stories are related to Sanatana Dharma traditions pre-dating the Buddha, Sakyamuni Gautama.

Cowell's link of the sculptural frieze with the Kukuta Jataka is valid.

However, the hieroglyphs of cock and tiger also read rebus to denote metalwork, consistent with

the depiction

of a smithy (indicated by a bricked structure with roof on the right top corner of the frieze) and

also in line

with other life-activities of lapidary-smiths depicted on other hieroglyphs at Bharhut and Sanchi..

Rebus:kol 'working in iron' kolhe 'smelter'

Tiger (cat): Hieroglyph: kola 'tiger'

Rebus: Ma. kakkaṭa dagger. Ka. kakkaḍe, karkaḍe a kind of weapon. / Cf. Skt. (lex.) karkaśa-

sword.(DEDR 1076)

Cock: Hieroglyph: Kol. (Kin.) kakkare partridge. Pa. kākral id. Go. (W.) kakrānj, (A.) kakranj id.

(Voc. 452). / Cf. Skt. (Śabdaratnākara 1624) karkara- a gallinaceous bird, Pali kakkara-

jungle cock. (DEDR 1078).

So. kokoj(R) ~ kokta(R) `cock'.Kh. kOkrO `cock'.Sa. kOkOr `an owl'.Mu. kOkOr(H) ~

kOkOrpeca(N)`the spotted owlet (%Athene_brama)'.

~ kOkOrecO? imitative word for a cock's crow ~ kOkrOcO `the cry of the fowl'.(Munda

etyma)

kukkuṭá1 m. ʻ cock ʼ VS., °ṭī -- f. ʻ hen ʼ VarBr S., °ṭaka- m. ʻ wild cock ʼ lex.,

k rk ṭa -- m. Pañcat. [Onom., cf. kukkubha -- ]Pa. k kk ṭa -- m., °ṭī -- f.,

NiDoc. k k ḍa m., Pk. k kk ḍa -- m., °ḍī -- , °ḍiyā -- f.; Gy. as.

kukar ʻ hen, bird ʼ JGLS new ser. ii 258, pers. k krī ʻ egg ʼ; Ash. k kúṛ ʻ cock ʼ,

Kt. kəky ŕ, Wg. kukú, Pr. kakayédotdot;; Dm. k k ŕ -- pai ʻ chicken ʼ, k k ŕīˊ f. ʻ hen ʼ,

Tir. k k ṛḗ f., Paš. k kūˊṛ m.f., k k ṛīˊ f., Shum. kúk ṛ m., k k ṛík f.,

125

Gaw. k k ṛ f., kúk ṛ m., Woṭ. k kúṛ m., kikíṛ f., Kal. rumb. n*lr -- kŕūk m.,

Kho. kúku m. (< kukkubha -- ? -- k k ḷi ʻ puppy ʼ < ʻ *chicken ʼ?);

Bshk. kúkur m., kíkir f., Tor. k gū m., k g īˊ f., Mai. k kō f.,

Sh. koh. gur. k kṓ m., pales. k kūī˜ f., K. k k r, °koru m.,k kürü f., ram. pog. ḍoḍ. k kk ṛ m.,

S. k k ṛ m., °kiṛi f., L. k kk ṛ m., °kiṛ f., P. k kkaṛ m., °ṛī f.,

WPah. bhad. k kk ṛ m., °kaṛī f., Ku. k k ṛ m.,°ṛī f., A. k k rā m., °rī f.,

B. k k ṛā m., °kṛī f., Or. k k ṛā, H. k kaṛ, °kṛā m., °kṛī f.,

G. k kṛɔ m., °ṛī f., °ṛ n. pl. ʻ poultry ʼ; M. k kḍek n. ʻ crowing ʼ;

Ko. k kaḍa ʻ fowl ʼ; Si. k k ḷā m., kikiḷi f.; -- with expressive aspiration

(rather than X pakhrū < *pakṣirūpa -- ): WPah. cur. k kkhaṛ m., °khṛī f., N.kukhro.

WPah.kṭg. (kc.) k khṛɔ m. ʻ cock ʼ, kv khṛi f. ʻ hen ʼ, kc. k khṛe;

J. k kṛā m. ʻ cock pheasant ʼ; Garh. k khṛ ʻ cock ʼ; Md.k k ḷ ʻ hen ʼ.(CDIAL 3208).

Bharhut (Hindi: ) is a village located in the Satna district of Madhya Pradesh,

central India. It is known for its famous relics from a Buddhist stupa. The Bharhut sculptures

represent some of the earliest examples of Indian and Buddhist art.

Contents

· 1 Bharhut stupa

· 2 As representative of early Indian art

· 3 Inscriptions

· 4 Gallery

· 5 See also

· 6 Notes

· 7 External links

Bharhut stupa

The Bharhut stupa may have been first built by the Maurya king Ashoka in the 3rd century BCE,

but many works of art were apparently added during the Sunga period, with many friezes from

the 2nd century BCE.[1]

An epigraph on the gateway of the stupa mentions its erection "during

the supremacy of the Sungas by Vatsiputra Dhanabhuti".[2]

In 1873, Alexander Cunningham visited Bharhut. The next year, he excavated the site.[3]

J. D.

Beglar, Cunningham's assistant, continued the excavation and recorded the work through

numerous photographs.

The complex in Bharhut included a medieval temple (plate II), which contained a colossal figure

of the Buddha, along with fragments of sculptures showing the Buddha with images of Brahma,

Indra etc.[4]

Beglar also photographed a 10th-century Buddhist Sanskrit inscription,[5]

about

which nothing is now known.

The ruined stupa—nothing but foundations of the main structure (see Gallery)—is still in

Bharhut; however, the gateways and railings have been dismantled and reassembled at the Indian

Museum, Kolkata.[2]

They contain numerous birth stories of the Buddha's previous lives,

orJataka tales. Many of them are in the shape of large, round medallions. Two of the panels are

at the Smithsonian.[6][not in citation given]

As representative of early Indian art

In conformity with the early aniconic phase of Buddhist art, the Buddha is only represented

126

through symbols, such as the Dharma wheel, the Bodhi tree, an empty seat, footprints, or

thetriratana symbol.[6]

The style represents the earliest phase of Indian art, and all characters are depicted wearing the

Indian dhoti, except for one foreigner thought to be an Indo-Greek soldier, with Buddhist

symbolism. The Bharhut carvings are slightly earlier than the Sanchi carvings and the

earlierAjanta frescos.

An unusual feature of the Bharhut panels is the inclusion of text in the narrative panels, often

identifying the individuals.[7]

Inscriptions

The inscriptions found at Bharhut are of considerable significance in tracing the history of early

Indian Buddhism and Buddhist art. 136 inscriptions mention the donors. These include

individuals from Vidisha, Purika (a town somewhere in the Vindhya

mountains), Pataliputra(Bihar), Karhad (Maharashtra), Bhojakata (Vidarbha, eastern

Maharashtra), Kosambi (Uttar Pradesh), and Nasik (Maharashtra). 82 inscriptions serve as labels

for panels depicting the Jatakas, the life of the Buddha, former Manushi Buddhas, other stories

and Yakshas and Yakshinis.[7]

Gallery

·

Bharhut excavation

·

Medieval Buddha image

·

The descent of Buddha

127

·

Anathapindika illustration

·

Vedika pillar with Greek warrior. Bharhut, Madhya Pradesh, Sunga Period, c.100-80BC.

Reddish brown sandstone.[8]

Indian Museum, Calcutta(drawing).

·

Yakshi reliefs. Bharhut, 2nd century BCE.

·

The Yaksha relief at Bharhut being worshipped as Hanumanby local villagers

·

The ruined Bharhut Stupa; seen behind it is the Lal Pahadi (Red Mountain)

·

Inscriptions

128

Inscriptions

Inscriptions

Inscriptions

See also

· Sanchi

· Deorkothar

Notes

1. Marshall, John (1918). "An Historical and Artistic Description of Sanchi (pp. 7-29)". A Guide

to Sanchi. Calcutta: Superintendent, Government Printing. p. 11. Retrieved 29 September 2014.

2. :a b "Bharhut Gallery". INC-ICOM Galleries. Indian National Committee of the International

Council of Museums. Retrieved 29 September 2014.

3. Cunningham, Sir Alexander (1879). The Stûpa of Bharhut: a Buddhist monument ornamented

with numerous sculptures illustrative of Buddhist legend and history in the third century B.C.

London: W. H. Allen.

4. "General view of remains of Buddhist temple of later date than the Stupa, Bharhut". Online

Gallery. British Library. Retrieved 29 September 2014.

5. "Photograph of a slab with a Buddhist sanskrit inscription". Online Gallery. British Library.

Retrieved 29 September 2014.

6. :a b "The Art of Buddhism". The Freer Gallery of Art and Arthur M. Sackler

Gallery. Smithsonian Institution. 2008. Retrieved 29 September 2014.

7. a b Luders, H.; Waldschmidt, E.; Mehendale, M. A., eds. (1963). "Bharhut

Inscriptions". Corpus Inscriptionum Indicarum II. Ootacamund:Archaeological Survey of India.

8. D.N. Jha,"Early India: A Concise History"p.150, plate 17

External links

· Birth of classic form, BENOY K. BEHL, Frontline, Volume 24 - Issue 17 :: Aug. 25-Sep.

07, 2007, covering the art of the Bharhut Stupa· Bharhut sculpture images

· Life of the Historical Buddha on the Bharhut Railing

· Medallions from Barhut

· Railing at Indian Museum

129

130

A heavy gold necklace and pendant from the time of the Shunga dynasty

Source: http://ignca.nic.in/asp/showbig.asp?projid=ac25

(downloaded Apr. 2004)

"Necklace, Centre Bead and Pendants, Shunga, India, Cleveland Museum, 180-70 B.C.,

Sculpture and painting, The Cleveland Museum, ACSAA"

And to go with the necklace: *A pair of royal earrings, ca. 1st century B.C.*

Source: http://www.metmuseum.org/toah/ho/04/ssa/hod_1981.398.3,4.htm

(downloaded Jan. 2006)

131

132

A lady worthy of the jewelry: Sunga, c. 2nd c. BCE (height: 25.5 cm)

Source: http://www.panasia.ch/inde.html

(downloaded Oct. 2006)

And to go with the lady and the jewelry: this magnificent detail from a frieze from Bharhut, 2nd

century BCE

Source: http://www.shunya.net/Pictures/NorthIndia/Delhi/Museum/NationalMuseum.htm

(downloaded May 2006)

*Plaque with the goddess Durga and attendants, Shunga period (ca. 2nd–1st century B.C.)*

Source: http://www.metmuseum.org/toah/ho/04/ssa/hod_1990.281.htm

(downloaded Jan. 2006)

133

A punch-marked silver coin from the Shunga period, with sun, elephant, crown punches; *a

closer view of the marks*

Source: ebay, June 2007

134

A coin from the later Shungas, with a design of stylized trees and hills, and an elephant

Source: http://www.vcoins.com/ancient/aegean/store/viewitem.asp?idProduct=2678

(downloaded May 2007)

"Later Sunga Kings - 1/2 Karshapana Circa 150BC-100AD. 2.56g. Obv: Cross, three arched hill

and railed tree. Rev: Elephant standing left, cross and single arched hill above"

A Shunga punch-marked bronze double karshapana coin, c.150-75 CE, from a mint west of

Malwa

135

Source: http://www.vcoins.com/ancient/calgarycoin/store/viewitem.asp?idProduct=4228

A multi-media gallery of images from Bharhut may be seen at:

http://www.photodharma.net/Guests/Kawasaki-Bharhut/Bharhut.htm The gallery brings us as

close as possible to the lives of Bharatam Janam of ca. 2nd century BCE.

1. Bharhut stupa in the Indian Museum, Kolkata: Ken Kawasaki (24 images)

2. 3 min. documentary on the Bharhut stupa: Benoy K.

Behl https://www.youtube.com/watch?v=eSk2UETZVY8

3. Stupa images: Anandajoti Bhikku (68 images) http://www.photodharma.net/India/Bharhut-

Stupa/Bharhut-Stupa.htm (Includes an excerpt from Alexander Cunningham's work:

Stupa of Bharhut: A Buddhist monument ornamented with numerou sculptures illustrative of

Buddhist legend and history in the third century BCE. Whole book (pp. 213) in pdf format

IT CAN BE DOWNLOADED HERE (12 MB))

Pillar of light flanked by two 'faces, heads', topped by tree

kuTi 'tree' rebus: kuThi 'smelter'. mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). dula 'pair'

rebus: dul 'cast metal'. m h 'face' (Hindi) rebus: m he 'ingot' (Santali) m h = the quantity of

iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the

Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron

smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four

ends; k lhe tehen mẽṛhẽt k mūhā akata = the Kolhes have to-day produced pig iron (Santali);

m ṇḍa 'head' rebus: m ḍadāra 'litharge'.

136

A comparable face is shown on another sculptural relief, in a venerated temple arch flanked by

two oxhide ingots and close to a tree (rebus: kuThi 'smelter')

A person holding an ankus'a, wearing a sivalinga pendant

on the chest is ligatured to an elephant, flanked by elephant riders. ibha 'elephant' rebus: ib

'iron'.mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda)

Medallion. Makara, fishes. kara 'crocodile' rebus: khara

'blacksmith' ibha 'elephant' rebus: ib 'iron'; ayo 'fish' rebus: aya 'metal alloy'.

137

MJetavana. Anathapindika covers Jetavana with coins

(Bharhut).This is a remarkable narrative during the life of the Buddha. Jetavana park is filled

with metal coins. Shows the link with archaeometallurgy of work in a mint. Hieroglyphs:

dhamma (venerated as garland), kuThi 'smelter' (venerated as tree).The location of Jetavana is

significant. It is in Savatthi (Śrāvastī), also known as (Sāvatthī), founded in Kosala, 6th cent.

BCE, birthplace of Tirthankara Sambhavanath.

S. Kalyanaraman

Sarasvati Research Center

February, 21, 2015