Indus Script fish turtle boar hieroglyphs deciphered ayas

alloy kasā kammaṭa bronze mint bārakaśa seafaring

vessel

--Indus Script fish turtle boar hieroglyphs ayas alloy kasā 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 kūrmaacute in ancient texts is related to the semantics of kum roof-like shell kūrmaacute1 m ʻ tortoise

ʼ VS degmī -- degmā -- f MBh [Cf kūrma -- 2]Pa kumma -- m (usu with kacchapa -- ) ʻ

tortoise ʼ Pk kumma -- m degmī -- f K krum kruumlmuuml kūrm m krumintildeuuml f S kumī f ʻ tortoise

turtle ʼ L kumma m degmī f kaṛ -- kummā m ʻ tortoise ʼ (Shahpur) kar -- kummā m ʻ turtle ʼ

(kaṛ -- kar -- ) P kumma degmī˜ f ʻ tortoise turtle ʼ Si kumu ʻ tortoise ʼ(CDIAL

3414)kūrma2 ʻ roof ʼ 2 kaurma -- [Poss same as kūrmaacute -- 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 ʼ2 Ash klōm ʻ roof ʼ Kt křum -- Kho krəm ʻ back ʼ NTS ii 262 with () see kamra --

-- Paš krōnd -- IIFL iii 3 111(lt kūaurmānta -- ) in lauṛ lūnd ʻ roof ʼ gul kundūr

laghṣōnd 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 atmans 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 httpbharatkalyan97blogspotin201107varahahtml

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 137)

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

271)

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 baḍhibāṛaiuml carpenter baṛea worker in wood and iron

merchant signified by the hieroglyph baḍhiaবরাহ barāha boar In Telugu the pronunciation

variant is వడర ంగ వడల ంగ వడల వడు (p 1133) [ vaḍraṅgi vaḍlaṅgi vaḍlavāḍu ]

or వడల బతతు డు vaḍrangi [Tel] n A carpenter Cf vardhaki lsquocarpenterrsquo (Samskrtam) The

semantics of digging indicate the possibility that baḍhibāṛaiuml 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

turtles shell like that of Meiolanias shell

The hieroglyph multiplex on m1534b is now read rebus as

dula pair rebus dul cast metal PLUS kassa turtle rebus kasā bell-metal kamaṭha turtle

rebus kasā kammaṭa bell-metal coiner mint portable furnace

Pictorial motif 69 (Mahadevan concordance) Tortoise

See httpbharatkalyan97blogspotin201604seafaring-merchants-indus-script_22html

baḍhiaবরাহ barāha boar baḍhibāṛaiuml carpenter बारकस bārakaśa merchantman pāṟu sailing ship

The suffix -kaśa in the expression bārakaśa is semantically cognate with kāsa ʻ moving ʼ Pāṇ

[radickas] S kāha f ʻ rush ʼ kāho m ʻ driver persecutor ʼ(CDIAL 3134)

The suffix also relates rebus to kasā bell-metal (Oriya) thus bārakaśa can also be explained as

a bronze-bearing sailing ship or bronze merchantman

kaṁsaacute1 m ʻ metal cup ʼ AV mn 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 kantildejho m ʻ

bellmetal ʼ A kah ʻ gong ʼ Or kasā ʻ big pot of bell -- metal ʼ OMarw kāso (= ka -- ) m ʻ

bell -- metal tray for food food ʼ G kasā m pl ʻ cymbals ʼ -- perh Woṭ kasṓṭ m ʻ metal pot ʼ

Buddruss Woṭ 1092 Pk kaṁsiā -- f ʻ a kind of musical instrument ʼ K kampebrevdotdotnzuuml f ʻ

clay or copper pot ʼ A kahi ʻ bell -- metal dish ʼ G kaśī f ʻ bell -- metal cymbal ʼ kaśiyɔ m ʻ

open bellmetal pan ʼ

kāˊṁsya -- -- kaṁsāvatī -- Addenda kaṁsaacute -- 1 A kah also ʻ gong ʼ or lt kāˊṁsya --

(CDIAL 2576)

Kacchapa [Sk kacchapa dial fr kaśyapa orig Ep of kumma like magga of paṭipadā] a

tortoise turtle S iv177 (kummo kacchapo) in simile of the blind turtle (kāṇo k)

M iii169=S v455 Th 2 500 (cpJPTS 1907 73 174) -- f kacchapinī a female t Miln 67

கசசபம kaccapam n lt kaccha-pa 1 Turtle tortoise ஆமை 2 One of the nine treasures of

Kubēra நவநிதியு ள ொனறு कचछ--प [p= 2423] m keeping or inhabiting a marsh a turtle

tortoise MBh Gaut Mn ampcan apparatus used in the distillation of spirituous liquor a flat kind

of still L कचछ--पीf a kind of lute (so named from being similar in shape to the tortoise

cf तसतदो) kacchapa m ʻ turtle tortoise ʼ MBh 2 kacchabha -- [By pop etym

through kaccha -- for kaśyaacutepa -- VS J Charpentier MO xxvi 110 suggested equivalence in MIA

of kassa -- =kaccha -- to explain creation of kacchapa -- ~ kassapa -- But K kochuwu unless a

loan from Ind points to kakṣapa -- which would make the formation earlier]1 Pa kacchapa -

- m ʻ tortoise turtle degpinī -- f Pk kacchava -- m degvī -- f K kochuwu m (see above)

S kachau degchu m L kachu m P kacchū kacchūkumma m (lt kūrmaacute -- 1) N kachuwā

A kācha B kāchim Or kechu degcho kẽchu kaiuml˜cha degca kachima degcima Mth kāchu Bhoj

Aw lakh kachuā H kachuā degchwā m deguī degwī f ʻ tortoise turtle ʼ kach -- mach m ʻ dwellers

in the water ʼ (lt maacutetsya -- ) whence kacch kach m ʻ turtle tortoise ʼ M kāsav kasdeg m

Ko kāsavu2 Pk amg kacchabha -- degaha -- m degbhī -- f Si kaumlsumbu degubu H Smith JA

1950 188 -- G kācbɔ m degbī f with unexpl retention of -- b -- and loss of aspiration in c

Addenda kacchapa -- 1 A kācha (phonet -- s -- ) ʻ tortoise ʼ AFD 2172 kacchabha -

- (with -- pa -- replaced by animal suffix -- bha -- ) Md kahanbu ʻ tortoise -- shell ʼ(CDIAL

2619)

Rebus kaccha m ʻ bank shore marshy ground ʼ MBh [Conn with kaacutekṣa -- (EWA i 139)

doubtful but see kacchapa -- ]Pa kaccha -- n ʻ marshy land ʼ Pk kaccha -- m ʻ bank shore

flooded forest land near a river garden to grow radishes ampc in ʼ kacchara -- m ʻ mud morass

ʼ Sh (Lor) klč with obl ʻ beside near ʼklči adv ʻ near ʼ klčilo adj P kāchaṛ degal f ʻ river

bank ʼ N kachār ʻ hillside foot of hill ʼ B kāchāṛ ʻ steep slope ʼ Bi kāch ʻ low marshy land ʼ

H kachār m ʻ moist lowland by a river ʼ kāchī m ʻ caste of market gardener ʼ (lt kacchin --

) kachiyānā kachwārā m ʻ vegetable plot ʼ(CDIAL 2618)

Tortoises as the supporting agent

An 1876

drawing of the world supported on the backs of four elephants themselves resting on the back of

a turtle The World Turtle in Hindu mythology is known as Akupāra (Sanskrit अकपार) or

sometimes Chukwa Example of a reference to the World Turtle in Hindu literature is found

in Jntildeānarāja (the author of Siddhāntasundara writing c 1500) A vulture which has only little

strength rests in the sky holding a snake in its beak for a prahara [three hours] Why can [the

deity] in the form of a tortoise who possesses an inconceivable potency not hold the Earth in the

sky for a kalpa [billions of years]The British philosopher John Locke made reference to this in

his 1689 tract An Essay Concerning Human Understanding which compares one who would

say that properties inhere in substance to the Indian who said the world was on an elephant

which was on a tortoise but being again pressed to know what gave support to the broad-

backed tortoise repliedmdashsomething he knew not what

Brewers Dictionary of Phrase and Fable lists Maha-pudma and Chukwa as names from a

popular rendition of a Hindu myth in which the tortoise Chukwa supports the elephant Maha-

pudma which in turn supports the world In several cultures of the world there is the concept

of a gigantic turtle that holds up the Earth Versions of the mtyh are found in India China and

North America the last of which is known as Turtle Island to some tribes as a reference to the

belief that the continent was resting on the back of a gigantic turtle The European reduction of

the myth is the island-beast a creature so large that sailors take it to be an island and land upon

it When the creature submerges the sailors are doomed the Bestiary name for the Island-beast

is Aspidochelone or snake-turtle but in some myths such as St Brendans voyage it is called a

Whale

httpenwikipediaorgwikiWorld-Turtle

The original for the

gigantic turtle that is the World Turtle of Indian myths is the giant fossil tortoise found in India

Colossochelys atlas whose name actually means Giant Turtle That Holds Up The Earth(or The

Sky)

httpfrontiers-of-anthropologyblogspotin201111giant-turtle-that-bears-world-on-itshtml

Colossochelys atlas formerly known as Testudo atlas and originally described as Geochelone

atlas is an extinct species ofcryptodire turtle from the Pleistocene period [as far back as] 2

million years ago During the dry glacial periods [ie after 2 million years ago-DD] it ranged

from western India and Pakistan (possibly even as far west as southern and eastern Europe) to as

far east as Sulawesi and Timor in Indonesia

Some more reconstructions and museum

mounts for Colossochelys which is something like double the dimensions of the Galapagoes or

Seychelles tortoises of our times

Colossochelys atlas formerly known as Testudo atlas and originally described as Geochelone

atlas is an extinct species ofcryptodire turtle from the Pleistocene period [as far back as] 2

million years ago During the dry glacial periods [ie after 2 million years ago-DD] it ranged

from western India and Pakistan (possibly even as far west as southern and eastern Europe) to as

far east as Sulawesi and Timor in Indonesia

Some more reconstructions and museum

mounts for Colossochelys which is something like double the dimensions of the Galapagoes or

Seychelles tortoises of our times

It would seem that the myth originates in the arera of Sundaland and adjoining-India where

pockets of Colossochelys survived and where they were not only economically exploiteed they

are indicated to have been of a particular religious and ritual status along with the horned

turtle Meiolania in Australia New Guinea and Islands farther to the East

httpfrontiers-of-anthropologyblogspotin201111giant-turtle-that-bears-world-on-itshtml

httpenwikipediaorgwikiColossochelys

Giant tortoises are characteristic reptiles of certain tropical islands Often reaching enormous

sizemdashthey can weigh as much as 300 kg (660 lbs) and can grow to be 13 m (4 ft) longmdashthey

live or lived (some species are recently extinct) in theSeychelles the Mascarenes and

the Galapagos Prior to the arrival of Homo sapiens giant tortoises occurred in non-island

locales as well Between 200000 to 10000 years ago tortoises on the mainland of

Asia[1] in Indonesia[1] in Madagascarin North and South Americaand even the island

of Malta[1] became extinct

Map of Giant Tortoises light

blue on South Asia for Colossochelys

Which seems to have persisted in pockets including in Indonesia

up to the end of the Ice Ages (Green Squares) plus the Madagscar

area group of Tortoise islands where some still survive and

Meiolania Islands offshore of Australia where the turtles survived

into the postglacial period but were killed off in Ancient times

httpenwikipediaorgwikiGiant_tortoise

The Aspidochelone lures hapless mariners to land on its back

Brendan and his monks ship is carried by a giant fish in a

German manuscript

According to the tradition of the Physiologus and medieval bestiaries the aspidocheloneis a

fabled sea creature variously described as a large whale or vast sea turtle and a giant sea

monster with huge spines on the ridge of its back

When considered as mines minerals earthenware and ocean resources the nine treasures of

Kubera are interpreted as

1 mahapadma (lake double the size of padma in Himalaya with minerals and jewels)

2 padma (lake in Himalaya with minerals and jewels)

3 shankha (conch shell)

4 makara (synonym of Padmini black antimony)

5 kachchhapa (tortoise or turtle shell)

6 kumud (cinnabar or quicksilver)

7 kunda (arsenic)

8 nila (antimony)

9 kharva (cups or vessels baked in fire) [unquote] httpsenwikipediaorgwikiNidhi

Front view of Meiolania

platyceps fossil Meiolania (small roamer) is an extinct genus of cryptodire

turtle from the Oligocene to Holocene with the last relict populations at New Caledonia which

survived until 2000 years ago

The animal was rather large measuring 25 metres (82 ft) in length making it the second-largest

known nonmarine turtle or tortoise surpassed only by Colossochelys atlas from Asia which

lived in the Pleistocene It lived in Australia and New Caledonia Remains have also been found

on the island of Efate in Vanuatu associated with settlements from the LapitacultureWhen the

first fossil remains (a vertebra) were found they were originally thought to be from a

large monitor lizard similar to but smaller than Megalania so the genus was named

accordingly Later when more remains were found it was realized that the small roamer was

actually a turtle and not a lizard Synonyms include Miolania and Ceratochelys

httpenwikipediaorgwikiMeiolania

See

httpbharatkalyan97blogspotin201601data-mining-techniques-decipherment-ofhtml

httpbharatkalyan97blogspotin201601data-mining-of-indus-script-corpora_17html

m1529Act2920

m1529Bct

m1532Act

m1532Bct

m1534Act

m1534Bct

1703 Composition

Two horned heads one at either end of the body

Copper tablet type B18 B17b Tortoise with

mirror duplicaes

B17a B17b B18

Hieroglyph two large turtles joined back to back Thus signifying meta casting using cire

perdue (lost-wax) technique of creting mirror image metal castings from wax casts

The hieroglyph multiplex on m1534b is now read rebus as dula pair rebus dul cast metal

PLUS kassa turtle rebus kasā bell-metal kamaṭha turtle rebus kasā kammaṭa bell-metal

coiner mint portable furnace

kamaṭha crab tortoise (Gujarati) lsquofrogrsquo (Skt) rebus kammaṭa lsquomintrsquo (Kannada)kampaṭṭam

lsquocoiner mintrsquo (Tamil)

Text Line 1 B17b

kolmo lsquorice plantrsquo rebus kolimi lsquosmithy forgersquo

gaNDA lsquofourrsquo rebus kanda lsquofire-altarrsquo

sal lsquosplinterrsquo rebus sal lsquoworkshoprsquo

koDi lsquoflagrsquo rebus koD lsquoworkshoprsquo (Phonetic determinative)

Three mountain peaks (range) danga lsquomountain rangersquo rebus dhangar lsquoblacksmithrsquo

koD lsquohornrsquo rebus koD lsquoworkshoprsquo

Text Line 2 B17b B17a

khaNDa lsquodivisionrsquo rebus khaNDa lsquoimplementsrsquo PLUS dula lsquopairrsquo rebus dul lsquocast metalrsquo

meD lsquobodyrsquo PLUS meDa lsquostaffrsquo rebus meD lsquoironrsquo

ranku lsquoliquid measurersquo rebus ranku lsquotinrsquo

dula lsquotworsquo rebus dul lsquocast metalrsquo

kuTila lsquocurversquo rebus kuTila lsquobronzersquo PLUS koD lsquohornrsquo rebus koD lsquoworkshoprsquo Thus bronze

workshop

B18 text

kaṇḍa kanka lsquorim of jarrsquo Rebus karṇīka lsquoaccount (scribe)rsquokarṇīlsquosupercargorsquo

kaṇḍa lsquofire-altarrsquo Alternative kanka rim of jar rebus kanga brazier

loa lsquoficusrsquo rebus loh lsquocopperrsquo

koḍa sluice Rebus koḍ artisans workshop (Kuwi)

gaNDa lsquofourrsquo rebus kanda lsquofire-altarrsquo PLUS kolom lsquothreersquo rebus kolimi lsquosmithy forgersquo

kuTila lsquocurversquo rebus kuTila lsquobronzersquo PLUS dula two

rebus dul cast metal Thus bronze castings workshop

मतसय a [p=7763] m (cf मतस and मचछ) a fish RV ampc ampc (personified as a prince with

the patr साममद S3Br )

kamaṭha crab tortoise (Gujarati) lsquofrogrsquo (Skt) rebus kammaṭa lsquomintrsquo (Kannada)kampaṭṭam

lsquocoiner mintrsquo (Tamil)கைடம [ kamaṭam ] s A turtle a tortoise ஆமை (Winslow Tamil

lexicon) కమఠము [ kamaṭhamu ] kamaṭhamu [Skt] n A tortoise

Rebus కమటము [ kamaṭamu ] kamaṭamu [Tel] n A portable furnace for melting the precious

metals అగసలవన కంపట Allograph कमटा or ठा [ kamaṭā or ṭhā ] m (कमठ S) A bow (esp of

bamboo or horn) (Marathi) Allograph 2 kamaḍha lsquopenancersquo (Pkt)

Frogs are dominant hieroglyphs on Dong Son bronze drums Kur mūxā frog Malt muacuteqe id Cf

Skt mūkaka- id (DEDR 5023) Rebus muh lsquoingotrsquo mũhe ingot mũha = the quantity of iron

produced at one time in a native furnace Alternative kamaṭha frog

(Samskritam) Rebus Ta kampaṭṭam coinage coin Ma kammaṭṭam kammiṭṭam coinage

mint Ka kammaṭa id kammaṭi a coiner (DEDR 1236) கமபடடககொரன kampaṭṭa-k-kāraṉ n lt

கமபடடம + Coiner நொணயமளசயவவொன (W)கமபடடககூடம kampaṭṭa-k-kūṭam n lt id +

Mint நொணயசொமை (W)கமபடடம kampaṭṭam n [K kammaṭa M kammṭṭam] Coinage coin

நொணயம (W)கமபடடமும kampaṭṭa-muḷai n lt id + Die coining stamp நொணயமுததிமர

(W) Alternative Kur mūxā frog Malt muacuteqe id Cf Skt mūkaka- id (DEDR

m1540b Obverse Copper plate inscription Mohenjo-daro

m1540Act Reverse Copper plate inscription Mohenjo-daro

A line drawing rendering of the hieroglyph as Pict-89 pictorial motif on Mahadevan

concordance

Line drawing of the copper tablet m1540 (pace

Asko Parpola BM Pande)

kammaṭa coiner mint signified by hieroglyph kamāṭhiyo archer evolves as an iconic metaphor

of the aniconic ekamukhalinga on Batesvar sculptural frieze shown atop a smelter together with a

tree in the background kuTi tree rebus kuThi smelter thus reinforcing the association of Yupa

Skambha as a fiery pillar of light as a metaphor for the smelting processes transmuting mere

earth and stone into metal heralding the inexorable processes of creation destruction and rebirth

exemplified by the Supreme divine -- a transformation from Being tio Becoming exemplified by

the Cosmic Dancer emerging out of the Sivalinga The process is mentioned as gangga sudhi on

Candi Sukuh inscription on a linga signifying sudhi purification by kanga brazier

kuṭa degṭi -- degṭha -- 3 degṭhi -- m ʻ tree ʼ Rebus kuṭhi smelter kuṭa degṭi -- degṭha -- 3 degṭhi -- m ʻ

tree ʼ lex degṭaka -- m ʻ a kind of tree ʼ KauśPk kuḍa -- m ʻ tree ʼ Paš lauṛ kuṛāˊ ʻ tree ʼ

dar kaṛeacutek ʻ tree oak ʼ ~ Par kōṛ ʻ stick ʼ IIFL iii 3 98 (CDIAL 3228)

Hieroglyph cord śuacutelba -- śulva -- n ʻ string cord ʼ ŚrSPk suvva -- n ʻ cord ʼ L sub

(Ju) suḇ m ʻ band on a sheaf of corn ʼ P subb chubb m ʻ band on a sheaf of corn twist of

tobacco swab to clean utensils ʼ subbā chudeg m ʻ band of twisted straw bandage ʼ subbaṛ m ʻ

id ʼ subbī chudeg f ʻ small do ʼ M sub subh n m ʻ fibrous integuments of coconut ʼ (CDIAL

12544) शलव [p= 10842](or शलब) n (accord to some also m and अ or f(ई)) a string cord

rope S3rS Su1ryasBhP

Rebus copper शलव [p= 10842]N of a पररशशषट Cat L also copper

शललम 1 A cord rope string -2 Copper शलवम śulvam (लबम lbam)

शलवम (लबम) [शलब-अच] 1 A rope string ततो मनतरबलाचछलब तकषक वशिणः करात Bm1194 शलव सतसय न त तततदमषय माशत

Bhāg273 -2 Copper -3 A sacrificial rite or act -4 The proximity of water a place near it -5 A

rule law an institute -लवा -लवी See above -Comp -अररः sulphur -जम brass -सरमN of Sūtra work

containing mathematical calculations required for शरौत rituals(Samskritam Apte)

Plofker Kim (2007) Certain shapes and sizes of fire-altars were associated with particular gifts

that the sacrificer desired from the gods he who desires heaven is to construct a fire-altar in the

form of a falcon a fire-altar in the form of a tortoise is to be constructed by one desiring to win

the world of Brahman those who wish to destroy existing and future enemies should construct

a fire-altar in the form of a rhombus [Sen and Bag 1983 86 98 111] (Plofker Kim (2007)

Mathematics in India The Mathematics of Egypt Mesopotamia China India and Islam A

Sourcebook Princeton University Press) Baudhāyana Śulbasucirctra is dated o c 800 BCE with

rules of Geometry for shapes of fire-altars

दीरघचतरशरसयाकषणया रजज पारशरवघमानी शतयघग मानी च यत पथग भत करतसतदभय करोशत

dīrghasyākṣaṇayā rajjuḥ pārśvamānī tiryaḍam mānī

cha yatpṛthagbhūte kurutastadubhayāṅ karoti

A rope stretched along the length of the diagonal produces an area which the vertical and

horizontal sides make together See Kak S and Prabhu M Cryptographic applications

of primitive Pythagorean triples Cryptologia 38215-222 2014

Eagles A snake (Sarianidi 1998 no 17621) B tortoise() (Sarianidi 1998 no 17792 Fig

3) C Long-legged person (Sarianidi 1998 no 1234 Fig 3) D long leg + bird (Sarianidi

1998 no 9142 Fig 3) After Fig 11 in Eric Olijdam opcit

kamaṭha tortoise Rebus kammaTa mint coiner (Telugu)

nAga snake Rebus nAga lead Alternative kula hooded snake Rebus kol working in iron

dhanga = tall long shanked maran dhangi aimai kanae = she is a big tall woman

(Santalilex)

Rebus dhangar lsquoblacksmithrsquo (WPah) da_nro = a term of contempt for a blacksmith

(N)(CDIAL 5524) tha_kur = blacksmith (Mth) tha_kar = landholder (P) thakkura ndash

Rajput chief man of a village (Pkt) thakuri = a clan of Chetris (N) tha_kura ndash term of

address to a Brahman god idol (Or)(CDIAL 5488) dha~_gar dha_~gar = a non-Aryan

tribe in the Vindhyas digger of wells and tanks (H) dha_ngar = young servant herdsman

name of a Santal tribe (Or) dhangar = herdsman (H)(CDIAL 5524)

In ancient Mesopotamia the turtle was associated with the god Ea and was used

on kudurrus as a symbol of Ea(Green Anthony and Black Jeremy 1992 Gods Demons and

Symbols of Ancient Mesopotamia an illustrated dictionary University of Texas Press)

Silver stater obverse Aigina

Greek drachma of Aegina Obverse LandChelone Reverse ΑΙΓ(INA)

and dolphin The oldest AeginaChelone coins depicted sea turtles and were minted ca 700ndash

550 BCE

Greek drachma of Aegina

Ta yāmai āmai turtle tortoise Ma āma id Ko em(b) tortoise To (Sak) amy id (lt

Ta) Ka āme āve ēve (Hav) ēme tortoise turtle tābēlu tāmbēlu a sea or land turtle

(Bell UPU) ālve tortoise Koḍ ame id Tu ēme turtle Te tatildebēlu tāmēlu id

tortoise Go (G) hēmul (Ma Ko) ēmul (Mu) samel hamul (M) hemūl tortoise

(Voc 3334) (LuS) emilee id (Koya Su) yāmōl id Konḍa tāmbel(i) id Pe hāmaṇ a kind

of large tortoise Kuisēmbi tortoise Kuwi (S Su Isr) tāmbeli (P) hēmbi id

(DEDR 5155) कमठ [ kamaṭha ] m S A tortoise or turtle(Marathi)

एमष [p= 2321] mN of the boar which raised up the earth S3Br xiv 1 2

11 Ka1t2hFormed from एमषम [p= 2321] (acc sg of the perf p of 3 अम [p= 801]) go

towards

Matsya Central India 9th-10th cen British Museum

Varaha stands on the Nagas rescues from the ocean and holds Bhudevi on his elbow

National Museum Delhi

Photographic prints at the Kern Institute Leiden

The Boar as an Image of Creation

A few months ago while going through a travel guide for Portugal I came across a

reference to the existence of a group of seventeen pig or wild boar statues in the remote

region of Tras-os-Montes It struck me that the granite porca from Murca with its

impressive outline of 280 m appeared to be Portugals oldest (iron age) monolithic

statue It immediately reminded me of the twenty-nine fully relief-covered boar statues

from Central India (Madhya Pradesh fifth to fourteenth centuries AD) of which the

boar from Eran is the oldest known colossus of India What made people represent pigs

and boars What are the symbols and myths connected with these animals and how

were they shaped into icons

By GERDA THEUNS-DE BOER

Although belonging to the same Suidea family pigs and boars have a totally different

image pigs are referred to as tame domesticated and only meant for human consumption

whereas boars are wild to be hunted vigorous and well-equipped with dangerous tusks

This difference in image made some peoples choose specifically to represent either the pig

or the boar Yet some common characteristics contributed to their fascination in general

especially in Europe in ancient times

Abundance and fertility

One of these fascinations was related to their fast-growing and readily fattened body the

swine as the non-vegetable equivalent of ripening corn Both are likely to have stood for

growing potential and abundance Proof of an interrelationship between swine and corn is

not difficult to find Quite a number of swine figurines have been found impressed with grain

(eg Upper Dniester Valley fifth millennium BC) and in several Northern European

countries the swine was regarded as the embodiment of the spirit of corn Besides the swine

was the animal that was chosen for sacrifice to Demeter the Greek goddess of the earths

fertility made manifest in agriculture especially in corn growing Above all swine were

associated with fertility They have large litters (ranging from eight to twelve) and the young

are sexually mature within a year A suckling swine was the perfect metaphor for fertility

and abundance

The habit of uprooting the soil with their nose in search for food strongly connected them

with the earth According to legend they even taught humankind the art of ploughing Their

preference for moisture and water a must for growth made him once more connected with

fertility

Nrvarah from Garhwa ASI 1909-1910 Silver gelatine developing out paper

Varaha The Indian boar

Varaha is nowadays known to us as the third incarnation or descent (avatara) of the Hindu

god Visnu There are two ways to present him as such fully zoomorphic (some authors

prefer calling this form Yajna Varaha) and as a man-animal hybrid for which the term

Nrvaraha is preferred Nr in this term connotes man In the latter case we see a boars head

on a human body (see photo) Although both forms are strongly interrelated by the same

core myth they each stress different aspects of that same expanding myth For that reason

both icons were produced side by side although the Nrvaraha form dominates quantitatively

In vedic literature Varaha was related to two different myths the boar myth in which the

boar served as the sacrificial animal (yajna) and the cosmogonic myth In this myth Varaha

is not yet associated with Visnu but with the vedic god of creation Prajapati It was Prajapati

who saw the earth in the primordial waters while he moved in them as the Wind With his

tusks he took the form of Varaha in order to lift the earth from the waters establishing a

primary creation

Varaha from Badoh ASI 1908-1909

Later in epic-puranic literature Brahma takes over the creator function from Prajapati so it

is Brahma who takes the form of Varaha in order to lift the earth again from the waters or as

it is sometimes expressed from the nether world (patala) where it had sunk after the earths

destruction by fire and deluge at the end of that certain world period (kalpa) Hence

Varahas act of lifting the earth is no longer a primary creation but has become a secondary

creation a periodical act of renewal serving to establish the world anew again and again

The Brahma character of the myth however will change under the influence of expanding

visnuism Varaha is seen as a creator form of Visnu Besides some late-epic and puranic

texts show an innovation in the cosmogonic myth now Varaha has not only re-established

the earth but also killed the demon king Hiranyaksa who lived in the nether world and had

conquered the gods

Most probably myth was here affected by the popularity of Visnus fourth avatara a man-

lion called Narasimha who succesfully kills the demon king Hiranyakasipu In order to fit

Varaha for his extended job a new iconographic form for Varaha was created half-animal

half-human Thanks to a boon neither an animal nor a man could kill Hiranyaksa only a

half-animal half-human form could be successful Endowed with four to six arms and

several weapons he proves to be able to re-establish the earth and restore social and legal

order by slaying all demonic powers

Zoomorphic Varaha

Let us return to the zoomorphic Varahas The first photograph shows the Varaha from Badoh

(Pratihara period ninth century) nowadays kept in the Archaeological Museum Gwalior

Varaha can be seen to lift the earth which is personified as the goddess Bhu (meaning earth)

with his right tusk In front of Varaha are three small damaged figures Garuda (Visnus

mount) a naga (a snake or water spirit) and a fly-whisk bearer Between Varahas legs we

see the coils of Ananta Sesa (the endless serpent) the primeval serpent Although several

scenes on the pedestal have been identified this is not the place to go into details Varahas

body is covered with 765 figures displayed in horizontal bands and three circles (vertebral

column) These figures have puzzled researchers for a long time both in concept and in

serial and individual identification Thanks to detailed photography and textual study its

iconographical programme is by a series of hits and misses revealing Although every

Varaha is unique in content and configuration of the figures there is enough proof to say that

zoomorphic Varaha is predominantly related to the concept of creation and possibly to the

concept of sacrifice (yajna) Creation is viewed broadly here as the whole universe is

visualized Not only are we presented with series of interrelated major and minor divinities

gods in different manifestations (egavatara-series of Visnu) sages (eg the Saptarsis)

celestial beings and priests but also the representation of the twenty-

seven naksatras (constellations of stars) and the nine planets (navagraha) In order to

visualize yajna specific components of yajna were personified and depicted chiefly on

Varahas head and limbs

The second photograph depicts the lesser known Varaha from Muradpur a small village on

the borders of Madhya Pradesh This Varaha with an estimated height of 250 m is

worshipped even today In this early photo the roof of the mandapa is missing This photo is

a wonderful illustration of the impact these huge Varahas had on humans It was no wonder

that the Varaha icon ranked among Indian kings and donors favourites as it enabled them to

express their might and create a new world where social and legal order would prevail

Nrvaraha from Garhwa ASI 1909-1910 Silver gelatine developing out paper

References

Nagar Shanti Lal Varaha in Indian Art Culture and Literature New Delhi (1993)

Rangarajan Haripriya Varaha Images in Madhya Pradesh Symbolism and Iconography

in Journal of the Asiatic Society of Bombay Mumbai (1997) pp 100-119 Vol 72

Rangarajan Haripriya Varaha Images in Madhya Pradesh an iconographic study Mumbai

(1997)

Drs Gerda Theuns-de Boer is an art historian and Project Manager of the

Photographic Database on Asian Art and Archaeology Kern Institute Leiden University

E-mail gamtheunsletleidenunivnl

httpiiasasiaiiasn26regions26SA1htm

tusks he took the form of Varaha in order to lift the earth from the waters establishing a

primary creation

Varaha from Badoh ASI 1908-1909

Later in epic-puranic literature Brahma takes over the creator function from Prajapati so it

is Brahma who takes the form of Varaha in order to lift the earth again from the waters or as

it is sometimes expressed from the nether world (patala) where it had sunk after the earths

destruction by fire and deluge at the end of that certain world period (kalpa) Hence

Varahas act of lifting the earth is no longer a primary creation but has become a secondary

creation a periodical act of renewal serving to establish the world anew again and again

The Brahma character of the myth however will change under the influence of expanding

visnuism Varaha is seen as a creator form of Visnu Besides some late-epic and puranic

texts show an innovation in the cosmogonic myth now Varaha has not only re-established

the earth but also killed the demon king Hiranyaksa who lived in the nether world and had

conquered the gods

Most probably myth was here affected by the popularity of Visnus fourth avatara a man-

lion called Narasimha who succesfully kills the demon king Hiranyakasipu In order to fit

Varaha for his extended job a new iconographic form for Varaha was created half-animal

half-human Thanks to a boon neither an animal nor a man could kill Hiranyaksa only a

half-animal half-human form could be successful Endowed with four to six arms and

several weapons he proves to be able to re-establish the earth and restore social and legal

order by slaying all demonic powers

Zoomorphic Varaha

Let us return to the zoomorphic Varahas The first photograph shows the Varaha from Badoh

(Pratihara period ninth century) nowadays kept in the Archaeological Museum Gwalior

Varaha can be seen to lift the earth which is personified as the goddess Bhu (meaning earth)

with his right tusk In front of Varaha are three small damaged figures Garuda (Visnus

mount) a naga (a snake or water spirit) and a fly-whisk bearer Between Varahas legs we

see the coils of Ananta Sesa (the endless serpent) the primeval serpent Although several

scenes on the pedestal have been identified this is not the place to go into details Varahas

body is covered with 765 figures displayed in horizontal bands and three circles (vertebral

column) These figures have puzzled researchers for a long time both in concept and in

serial and individual identification Thanks to detailed photography and textual study its

iconographical programme is by a series of hits and misses revealing Although every

Varaha is unique in content and configuration of the figures there is enough proof to say that

zoomorphic Varaha is predominantly related to the concept of creation and possibly to the

concept of sacrifice (yajna) Creation is viewed broadly here as the whole universe is

visualized Not only are we presented with series of interrelated major and minor divinities

gods in different manifestations (egavatara-series of Visnu) sages (eg the Saptarsis)

celestial beings and priests but also the representation of the twenty-

seven naksatras (constellations of stars) and the nine planets (navagraha) In order to

visualize yajna specific components of yajna were personified and depicted chiefly on

Varahas head and limbs

The second photograph depicts the lesser known Varaha from Muradpur a small village on

the borders of Madhya Pradesh This Varaha with an estimated height of 250 m is

worshipped even today In this early photo the roof of the mandapa is missing This photo is

a wonderful illustration of the impact these huge Varahas had on humans It was no wonder

that the Varaha icon ranked among Indian kings and donors favourites as it enabled them to

express their might and create a new world where social and legal order would prevail

Nrvaraha from Garhwa ASI 1909-1910 Silver gelatine developing out paper

References

Nagar Shanti Lal Varaha in Indian Art Culture and Literature New Delhi (1993)

Rangarajan Haripriya Varaha Images in Madhya Pradesh Symbolism and Iconography

in Journal of the Asiatic Society of Bombay Mumbai (1997) pp 100-119 Vol 72

Rangarajan Haripriya Varaha Images in Madhya Pradesh an iconographic study Mumbai

(1997)

Drs Gerda Theuns-de Boer is an art historian and Project Manager of the

Photographic Database on Asian Art and Archaeology Kern Institute Leiden University

E-mail gamtheunsletleidenunivnl

httpiiasasiaiiasn26regions26SA1htm

Zoomorphic Varaha

Let us return to the zoomorphic Varahas The first photograph shows the Varaha from Badoh

(Pratihara period ninth century) nowadays kept in the Archaeological Museum Gwalior

Varaha can be seen to lift the earth which is personified as the goddess Bhu (meaning earth)

with his right tusk In front of Varaha are three small damaged figures Garuda (Visnus

mount) a naga (a snake or water spirit) and a fly-whisk bearer Between Varahas legs we

see the coils of Ananta Sesa (the endless serpent) the primeval serpent Although several

scenes on the pedestal have been identified this is not the place to go into details Varahas

body is covered with 765 figures displayed in horizontal bands and three circles (vertebral

column) These figures have puzzled researchers for a long time both in concept and in

serial and individual identification Thanks to detailed photography and textual study its

iconographical programme is by a series of hits and misses revealing Although every

Varaha is unique in content and configuration of the figures there is enough proof to say that

zoomorphic Varaha is predominantly related to the concept of creation and possibly to the

concept of sacrifice (yajna) Creation is viewed broadly here as the whole universe is

visualized Not only are we presented with series of interrelated major and minor divinities

gods in different manifestations (egavatara-series of Visnu) sages (eg the Saptarsis)

celestial beings and priests but also the representation of the twenty-

seven naksatras (constellations of stars) and the nine planets (navagraha) In order to

visualize yajna specific components of yajna were personified and depicted chiefly on

Varahas head and limbs

The second photograph depicts the lesser known Varaha from Muradpur a small village on

the borders of Madhya Pradesh This Varaha with an estimated height of 250 m is

worshipped even today In this early photo the roof of the mandapa is missing This photo is

a wonderful illustration of the impact these huge Varahas had on humans It was no wonder

that the Varaha icon ranked among Indian kings and donors favourites as it enabled them to

express their might and create a new world where social and legal order would prevail

Nrvaraha from Garhwa ASI 1909-1910 Silver gelatine developing out paper

References

Nagar Shanti Lal Varaha in Indian Art Culture and Literature New Delhi (1993)

Rangarajan Haripriya Varaha Images in Madhya Pradesh Symbolism and Iconography

in Journal of the Asiatic Society of Bombay Mumbai (1997) pp 100-119 Vol 72

Rangarajan Haripriya Varaha Images in Madhya Pradesh an iconographic study Mumbai

(1997)

Drs Gerda Theuns-de Boer is an art historian and Project Manager of the

Photographic Database on Asian Art and Archaeology Kern Institute Leiden University

E-mail gamtheunsletleidenunivnl

httpiiasasiaiiasn26regions26SA1htm

Relief sculpture of Varaha

with Bhu and Gadadevi From Orissa eastern India 13th century AD OA 18727-144

Website British Museum Compass

India Tamil Nadu Varaha the

Boar Avatar of Vishnu Date circa 1600 Museum Number M871602 Website LACMA

[quote]AVATARA [Source Dowsons Classical Dictionary of Hindu Mythology] A

descent The incarnation of a deity especially of Vishnu

The first indication not of an Avatara but of what subsequently developed into an Avatara

is found in the Rigveda in the three steps of Vishnu the unconquerable preserver who

strode over this (universe) and in three places planted his step The early commentators

understood the three places to be the earth the atmosphere and the sky that in the

earth Vishnu was fire in tile air lightning and in the sky the solar light One commentator

Aurnavabha whose name deserves mention took a more philosophical view of the matter

and interpreted the three steps as being the different positions of the sun at his rising

culmination and setting Sayana the great commentator who lived in days when the

god Vishnu had obtained preeminence understood the three steps to be the three steps

taken by that god in his incarnation of vamana the dwarf to be presently noticed Another

reference to three strides and to a sort of Avatars is made in the Taittiriya Sanhita where

it is said Indra assuming the form of a she-jackal stepped all round the earth in three

(strides) Thus the gods obtained it

Boar Incarnation In the Taittiriya Sanhita and Brahmana and also in the Satapatha

Brahmana the creator prajapati afterwards known asBrahma took the form of a boar for the

purpose of raising the earth out of the boundless waters The Sanhita says This universe

was formerly waters fluid On it Prajapati becoming wind moved He saw this (earth)

Becoming a boar he took her up Becoming Viswakarman he wiped (the moisture from)

her She extended She became the extended one (Prithvi) From this the earth derives her

designation as the extended one The Brahmana is in accord as to the illimitable waters

and adds Prajapati practised arduous devotion (saying) How shall this universe be

(developed) He beheld a lotus leaf standing He thought There is somewhat on which this

(lotus leaf) rests He as a boar having assumed that form plunged beneath towards it He

found the earth down below Breaking off (a portion of her) he rose to the surface He then

extended it on the lotus leaf Inasmuch as he extended it that is the extension of the extended

one (the earth) This became (abhut) From this the earth derives its name of Bhumi

Further in the Taittiriya Aranyaka it is said that the earth was raised by a black boar with a

hundred arms The Satapatha Brahmana states She (the earth) was only so large of the

size of a span A boar called Emusha raised her up Her lord prajapati in consequence

prospers him with this pair and makes him complete In the Ramayana also it is stated

that Brahma be became a boar and raised up the earth

Tortoise Incarnation In the Satapatha Brahmana it is said that Prajapati having assumed

the form of a tortoise (karma) created offspring That which he created he

made (akarot) hence the word Karma

Fish Incarnation The earliest mention of the fishAvatara occurs in th Satapatha Brahmana

in connection with the Hindu legend of the delugeManu found in the water which was

brought to him for his ablutions a small fish which spoke to him and said I will save thee

from a flood which shall sweep away all creatures This fish grew to a large size and had to

be consigned to the ocean when he directed Manu to constructa ship and to resort to him

when the flood should rise The deluge came and Manu embarked in the ship The fish then

swam to Manu who fastened the vessel to the fishs horn and was conducted to safety

The Mahabharata repeats this story with some variations

The incarnations of the boar the tortoise and the fish are thus in the earlier writings

represented as manifestations of prajapati or Brahma The three steps which form the germ

of the dwarf incarnation are ascribed to Vishnu but even these appear to be of an

astronomical or mythical character rather than glorifications of a particular deity In

the Mahabharata Vishnu has become the most prominent of the gods and some of his

incarnations are more or less distinctively noticed but it is in the Puranas that they receive

their full development According to the generally received account the incarnations

of Vishnu are ten in number each of them being assumed by Vishnu the great preserving

power to save the world from some great danger or trouble

[unquote]

httpwwwmythfolklorenetindiaencyclopediaavatarhtm

Vishnu taking the shape of a boar diving into the vast ocean killing the asuran

HiraNyAkshan who stole BhUmi devi and bringing Her back on His tusk (VishNu

purANam 1445-50 taittirIya samhitA715 and taittirIya brahmaNa 1136 The taittirIya

AraNyaka says that BhUmi devi was lifted from under the ocean by a black boar with

hundred arms (krshNena Sata bAhunA) Satapata brAhmaNa also salutes this BhU VarAha

avatAram (141211)

Satapatha Brahmana equates Varaha with Prajapati and calls him Emusha vishnu puran

14 Triumph lord of lords supreme Keśava sovereign of the earth the wielder of the

mace the shell the discus and the sword cause of production destruction and

existence THOU ART oh god there is no other supreme condition but thou Thou

lord art the person of sacrifice for thy feet are the Vedas thy tusks are the stake to

which the victim is bound in thy teeth are the offerings thy mouth is the altar thy

tongue is the fire and the hairs of thy body are the sacrificial grass Thine eyes oh

omnipotent are day and night thy head is the seat of all the place of Brahma thy

mane is all the hymns of the Vedas thy nostrils are all oblations oh thou whose snout

is the ladle of oblation whose deep voice is the chanting of the Saacutema veda whose body

is the hall of sacrifice whose joints are the different ceremonies and whose ears have

the properties of both voluntary and obligatory rites

The ten avatars of Vishnu (Clockwise from top left) Matsya Kurma Varaha Vamana

Krishna Kalki Parshurama Rama and Narasimha (in centre) Radha and Krishna Painting

currently in Victoria and Albert Museum

आशदमधयावसानष वरागयाखयानसयतम

हररलीलाकथावराता मतानशनतदतसतसरम

सवघवदानततसार यदरहमातमकतवलकषणम

वसतवशितीय तशनतनषठ कवलयकपरयोजनम Archive

KS Sastri (1975) Archive of Bhagavata Purana Book 12 with 11 Sanskrit Commentaries

pages 337-341

At that time the Supreme Personality of Godhead will appear on the earth Acting with the

power of pure spiritual goodness He will rescue eternal religion Lord Viṣṇu mdash the Supreme

Personality of Godhead the spiritual master of all moving and nonmoving living beings and

the Supreme Soul of all mdash takes birth to protect the principles of religion and to relieve His

saintly devotees from the reactions of material work

mdashthinspBhagavata Purana 12216-17

Chapter 7 Brief Description of the Past and Coming Avatacircras (12) He who became the Manu [called Satyavrata the truth-abiding one] at the end of the

epoch saw Lord Matsya [the fish] who as the stay of the earth offered shelter to all living

beings [in the form of a boat during the deluge] The Vedas that because of the great fear for

the waters came forth from my mouth then were taken up by Him who sported there

(13) When in the ocean of milk [or knowledge] the leaders of the immortals and their

opponents where churning the mountain [called Mandara the big one] for gaining the

nectar the primeval Lord half asleep as a tortoise [called Kurma] supported him so that it

scratched and itched on His back

Chapter 12 The Topics of Sricircmad Bhacircgavatam Summarized (18) [There is also an account of] the birth and death of [Vritra 69-12] the son of Tvashthacirc

and the two sons of Diti Hiranyacircksha [314-19] and Hiranyakasipu oh brahmins and the

history of the great soul Prahlacircda the lord of the Daityas [72-8] (19-20) The reigns of the

Manus [81] are described in detail as also the liberation of the king of the elephants

[Gajendra 82-4] and the avatacircras of Lord Vishnu for each period of Manu [85 and 13] like

Hayasicircrshacirc [824 8 and 57 518 1] Nrisimha [79-10] Vacircmana [818-22] Macirctsya [824]

and the descent of Kucircrma for the purpose of [supporting the] churning of the nectar from the

milk ocean by the inhabitants of heaven [87-8] (21) [Next there is an account of] the great

war between the demons and the gods [810] as also the succession of the dynasties of kings

[92 7 9 12 13 17 20-24] the dynasty of the great soul Sudyumna [91] and the birth of

Ikshvacircku and his dynasty [96] httpsrimadbhagavatamorgcontentshtml

httpbhagavataorgdownloadsbhagavata-complhtml

Samudra Manthan Lord Vishnu directing the Churning of the Milk Ocean The Puranic story of the Churning of the Primeval milk ocean (kshirasagara) by the gods and

the demons using the primeval serpent Vasuki as a rope and Mount Meru as a churning

stick with Kurma the tortoise as the base

The ten avatars of Vishnu (Clockwise from top left) Matsya Kurma Varaha Vamana

Krishna Kalki Parshurama Rama and Narasimha (in centre) Radha and Krishna Painting

currently in Victoria and Albert Museum

आशदमधयावसानष वरागयाखयानसयतम

हररलीलाकथावराता मतानशनतदतसतसरम

सवघवदानततसार यदरहमातमकतवलकषणम

वसतवशितीय तशनतनषठ कवलयकपरयोजनम Archive

KS Sastri (1975) Archive of Bhagavata Purana Book 12 with 11 Sanskrit Commentaries

pages 337-341

At that time the Supreme Personality of Godhead will appear on the earth Acting with the

power of pure spiritual goodness He will rescue eternal religion Lord Viṣṇu mdash the Supreme

Personality of Godhead the spiritual master of all moving and nonmoving living beings and

the Supreme Soul of all mdash takes birth to protect the principles of religion and to relieve His

saintly devotees from the reactions of material work

mdashthinspBhagavata Purana 12216-17

Chapter 7 Brief Description of the Past and Coming Avatacircras (12) He who became the Manu [called Satyavrata the truth-abiding one] at the end of the

epoch saw Lord Matsya [the fish] who as the stay of the earth offered shelter to all living

beings [in the form of a boat during the deluge] The Vedas that because of the great fear for

the waters came forth from my mouth then were taken up by Him who sported there

(13) When in the ocean of milk [or knowledge] the leaders of the immortals and their

opponents where churning the mountain [called Mandara the big one] for gaining the

nectar the primeval Lord half asleep as a tortoise [called Kurma] supported him so that it

scratched and itched on His back

Chapter 12 The Topics of Sricircmad Bhacircgavatam Summarized (18) [There is also an account of] the birth and death of [Vritra 69-12] the son of Tvashthacirc

and the two sons of Diti Hiranyacircksha [314-19] and Hiranyakasipu oh brahmins and the

history of the great soul Prahlacircda the lord of the Daityas [72-8] (19-20) The reigns of the

Manus [81] are described in detail as also the liberation of the king of the elephants

[Gajendra 82-4] and the avatacircras of Lord Vishnu for each period of Manu [85 and 13] like

Hayasicircrshacirc [824 8 and 57 518 1] Nrisimha [79-10] Vacircmana [818-22] Macirctsya [824]

and the descent of Kucircrma for the purpose of [supporting the] churning of the nectar from the

milk ocean by the inhabitants of heaven [87-8] (21) [Next there is an account of] the great

war between the demons and the gods [810] as also the succession of the dynasties of kings

[92 7 9 12 13 17 20-24] the dynasty of the great soul Sudyumna [91] and the birth of

Ikshvacircku and his dynasty [96] httpsrimadbhagavatamorgcontentshtml

httpbhagavataorgdownloadsbhagavata-complhtml

Samudra Manthan Lord Vishnu directing the Churning of the Milk Ocean The Puranic story of the Churning of the Primeval milk ocean (kshirasagara) by the gods and

the demons using the primeval serpent Vasuki as a rope and Mount Meru as a churning

stick with Kurma the tortoise as the base

A bas-relief from Angkor Wat Cambodia shows Samudra manthan-Vishnu in the center and

his turtle AvatarKurma below

Fluid Elegance of Samudra Manthan The Churning of the Milk Ocean Lord Vishnu at the center directing the Churning of the Milk Ocean (image source webmasters own collection of photos taken during a recent visit)

See httpbharatkalyan97blogspotin201512kamadha-penance-indus-script-

hieroglyphhtml

kamaḍha penance an Indus Script hieroglyph on 16 Ancient Near East inscriptions signifies

kammaṭa mint coiner

Mirror httptinyurlcomqy2popu

Mohenjo-daro Sealing Surrounded by fishes lizard and snakes a horned person sits in

yoga on a throne with hoofed legs One side of a triangular terracotta amulet (Md 013)

surface find at Mohenjo-daro in 1936 Dept of Eastern Art Ashmolean Museum Oxford

[seated person penance crocodile] Brief memoranda kamaḍha lsquopenancersquo

Rebus kammaṭa lsquomint coinerrsquo kaṇḍo lsquostool seatrsquo Rebus kāṇḍa lsquometalwarersquo kaṇḍa lsquofire-

altarrsquo

kAru crocodile Rebus kAru artisan

Hieroglyphs (allographs)

kamaḍha penance (Prakriam)

kamḍa khamḍa copulation (Santali)

kamaṭha crab (Skt)

kamaṛkom = fig leaf (Santalilex) kamarmaṛā (Has) kamaṛkom (Nag) the petiole or stalk

of a leaf (Mundarilex) kamatha = fig leaf religiosa (Sanskrit) kamaḍha = ficus

religiosa (Sanskrit)

kamāṭhiyo = archer kāmaṭhum = a bow kāmaḍ kāmaḍum = a chip of bamboo (G)

kāmaṭhiyo a bowman an archer (Sanskrit)

Rebus kammaṭi a coiner (Ka) kampaṭṭam coinage coin mint (Ta) kammaṭa = mint

gold furnace (Te) kamaṭa = portable furnace for melting precious metals (Telugu)

kampaṭṭam = mint (Tamil)

Glyph meD to dance (F)[reduplicated from me-] me id (M) in Remo (Munda)(Source D

Stampes Munda etyma) meṭṭu to tread trample crush under foot tread or place the foot

upon (Te) meṭṭu step (Ga) mettunga steps (Ga) maḍye to trample tread (Malt)(DEDR

5057) మటటు (p 1027) [ meṭṭu ] meṭṭu [Tel] v a ampn To step walk tread అడుగుపటటు నడుచు

తరకు మలల మలల న మటటు చుదలగ అలల నలల నతలుపులండక జర BD iv 1523 To tread on to

trample on To kick to thrust with the footమటటక meṭṭika n A step మటటు సపనము (Telugu)

Rebus meD iron (Mundari Remo)

Tepe Yahya Seal impressions of two sides of a seal Six-legged lizard and opposing

footprints shown on opposing sides of a double-sided steatite stamp seal perforated along the

lateral axis Lamberg- Karlovsky 1971 fig 2C Shahr-i-Soktha Stamp seal shaped like a foot

Glyph aṭi foot footprint (Tamil) Rebus aḍe aḍa aḍi the piece of wood on which the five

artisans put the article which they happen to operate upon a support (Kannada)

Glyph araṇe lizard (Tulu) eraṇi f ʻ anvil ʼ (Gujarati) aheraṇ ahiraṇ airaṇ airṇī haraṇ f

(Marathi) அரமண Ta araṇai typical lizard Lacertidae smooth streaked lizard Lacerta

interpunctula Ma araṇa green house lizard L interpunctula Ka araṇe rāṇe rāṇi greenish

kind of lizard which is said to poison by licking L interpunctula Tu araṇe id (DEDR 204)

Glyph bhaṭa lsquosixrsquo (G) rebus baṭa = kiln (Santali) baṭa = a kind of iron (Gujarati) [Note six

legs shown on the lizard glyph]

The rebus readings are aḍi anvil airaṇ anvil (for use in) baṭa iron working or kilnfurnace-

work

bhraacuteṣṭra n ʻ frying pan gridiron ʼ MaitrS [radicbhrajj] Pk bhaṭṭha -- mn ʻ gridiron ʼ K buumlṭhuuml

f ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ S baṭhu

m ʻ large pot in which grain is parched large cooking fire ʼ baṭhī f ʻ distilling furnace ʼ L

bhaṭṭh m ʻ grain -- parchers oven ʼ bhaṭṭhī f ʻ kiln distillery ʼ awāṇ bhaṭh P bhaṭṭh m

degṭhī f ʻ furnace ʼ bhaṭṭhā m ʻ kiln ʼ N bhāṭi ʻ oven or vessel in which clothes are steamed

for washing ʼ A bhaṭā ʻ brick -- or lime -- kiln ʼ B bhāṭi ʻ kiln ʼ Or bhāṭi ʻ brick -- kiln

distilling pot ʼ Mth bhaṭhī bhaṭṭī ʻ brick -- kiln furnace still ʼ Awlakh bhāṭhā ʻ kiln ʼ H

bhaṭṭhā m ʻ kiln ʼ bhaṭ f ʻ kiln oven fireplace ʼ M bhaṭṭā m ʻ pot of fire ʼ bhaṭṭī f ʻ forge

ʼ -- X bhaacutestrā -- qv Skcch bhaṭṭhī keṇī ʻ distil (spirits) ʼ(CDIAL 9656) kolmo lsquothreersquo

(Mu) rebus kolami lsquosmithyrsquo (Telugu) కలమ [ kolimi ] kolimi [Tel] n A pit A fire pit or

furnace ముదద కలమ a smelting forge నళల కలమ a reservoir కలమతతు తతు a pair of

bellows(Telugu) పటు డ [ paṭṭaḍa ] paṭṭaḍu [Tel] n A smithy a shop కమమర వడల ంగ

మదలగువరు పనచయు చటట(Telugu) Glyph S baṭhu m lsquolarge pot in which grain is parched

L bhaṭṭh m ʻ grain -- parchers oven ʼM bhaṭṭā m ʻ pot of fire ʼ(CDIAL 9656) Glyph

bhaṭa lsquosixrsquo (G) rebus baṭa = kiln (Santali) bhaṭṭī f ʻ forge ʼ(Marathi)(CDIAL 9656) baṭa =

a kind of iron (G) bhaṭṭhī f lsquokiln distilleryrsquo awāṇ bhaṭh P bhaṭṭh m degṭhī f lsquofurnacersquo

bhaṭṭhā m lsquokilnrsquo S bhaṭṭhī keṇī lsquodistil (spirits) baṭa = furnace (Santali) bhrāṣṭra = furnace

(Skt) bhaṭa lsquofurnacersquo (G) baṭhī f ʻ distilling furnace (Sindhi)

h-155 Crab with six legs

Seal M-1104 Six legs ligatured to a pincer

httpbharatkalyan97blogspotin201511dance-step-med-in-indus-scripthtml

Horned deity seals Mohenjo-daro a horned deity with pipal-leaf headdress Mohenjo-daro

(DK12050 NMP 50296) (Courtesy of the Department of Archaeology and Museums

Government of Pakistan) b horned deity with star motifs Mohenjo-daro (M-305)

(PARPOLA 1994Fig 109) courtesy of the Archaeological Survey of India c horned deity

surrounded by animals Mohenjo-daro (JOSHI ndash PARPOLA 1987M-304) courtesy of the

Archaeological Survey of India

ṭhaṭera buffalo horns Rebus ṭhaṭerā brass worker

meḍha polar star (Marathi) Rebus meḍ iron (HoMu)

kamadha penance Rebus kammata coiner mint

kara n pl wristlets banglesRebus khAr blacksmith iron worker

rango buffalo Rebusrango pewter

kari elephant ibha elephant Rebus karba iron ib iron

kola tiger Rebus kol working in iron

gaNDA rhinoceros Rebus kaNDa imlements

mlekh antelope goat Rebus milakkha copper

meD body Rebus meD iron copper

httpbharatkalyan97blogspotin201510art-historians-dilemma-and-occams-razorhtml

dhatu scarf Rebus dhatu mineral

m453B Scarf as pigtail of seated personKneeling adorant and serpent on the field

khaṇḍiyo [cf khaṇḍaṇī a tribute] tributary paying a tribute to a superior king (Gujarti)

Rebus khaṇḍaran khaṇḍrun lsquopit furnacersquo (Santali)

paṭa serpent hood Rebus pata lsquosharpness (of knife) tempered (metal) padm lsquotempered

ironrsquo (Kota)

Seated person in penance Wears a scarf as pigtail and curved horns with embedded stars and

a twig

mēḍha The polar star (Marathi) Rebus meḍ lsquoironrsquo (Ho) dula lsquopairrsquo (Kashmiri) Rebus dul

lsquocast (metal)rsquo(Santali) ḍabe ḍabea lsquolarge horns with a sweeping upward curve applied to

buffaloesrsquo (Santali) Rebus ḍab ḍhimba ḍhompo lsquolump (ingot)rsquo clot make a lump or clot

coagulate fuse melt together (Santali) kūtī = bunch of twigs (Skt) Rebus kuṭhi = (smelter)

furnace (Santali) The narrative on this metalware catalog is thus (smelter) furnace for iron

and for fusing together cast metal kamaḍha lsquopenancersquoRebus 1 kaṇḍ lsquostone (ore)

metalrsquoRebus 2 kampaṭṭalsquomintrsquo

httpbharatkalyan97blogspotin201306ancient-near-east-scarf-hieroglyph-onhtml

Proto-Elamite seal impressions Susa Seated bulls in penance posture (After Amiet 1980

nos 581 582)

Hieroglyph kamaDha penance (Prakritam) Rebus kammaTTa coiner mint

Hieroglyph dhanga mountain range Rebus dhangar blacksmith

Hieroglyph rango buffalo Rebus rango pewter

Mohenjo-daro Square seal depicting a nude male deity with three faces seated in yogic

position on a throne wearing bangles on both arms and an elaborate headdress Five symbols

of the Indus script appear on either side of the headdress which is made of two outward

projecting buffalo style curved horns with two upward projecting points A single branch

with three pipal leaves rises from the middle of the headdress

Seven bangles are depicted on the left arm and six on the right with the hands resting on the

knees The heels are pressed together under the groin and the feet project beyond the edge of

the throne The feet of the throne are carved with the hoof of a bovine as is seen on the bull

and unicorn seals The seal may not have been fired but the stone is very hard A grooved

and perforated boss is present on the back of the seal

Material tan steatite Dimensions 265 x 27 cm 083 to 086 thickness Mohenjo-daro DK

12050

Islamabad Museum NMP 50296 Mackay 1938 335 pl LXXXVII 222

kūdī bunch of twigs (Sanskrit) Rebus kuṭhi smelter furnace (Santali) कदी [p= 3001] f a

bunch of twigs bunch (vl कटई) AV v 19 12 Kaus3ccord to Kaus3 Sch = बदरी

Christs thorn(Monier-Williams)

Hieroglyph kamaḍha lsquopenancersquo (Pkt) Rebus 1 kampaṭṭa lsquomintrsquo (Ma) kamaṭa = portable

furnace for melting precious metals (Te)Rebus 2 kaṇḍa lsquofire-altar

(Santali) kan lsquocopperrsquo (Ta)

Hieroglyph kara n pl ʻwristlets bangles ʼ (Gujarati) kara hand (Rigveda) Rebus khAr

blacksmith (Kashmiri)

The bunch of twigs = ku_di_ ku_ti_ (Sktlex) ku_di_ (also written as ku_ti_ in

manuscripts) occurs in the Atharvaveda (AV 51912) and Kausrsquoika Su_tra (Bloomsfieldrsquos

edn xliv cf Bloomsfield American Journal of Philology 11 355 12416 Roth Festgruss

an Bohtlingk98) denotes it as a twig This is identified as that of Badari_ the jujube tied to

the body of the dead to efface their traces (See Vedic Index I p 177)[Note the twig adoring

the head-dress of a horned standing person]

Mahadevan concordance Field Symbol 83 Person wearing a diadem or tall

head-dress standing within an ornamented arch there are two stars on either

httpbharatkalyan97blogspotin201509indus-script-bull-man-

hieroglyphhtmlview=timeslide

Hieroglyph multiplexes of the hypertext of the cylinder seal from a Near Eastern Source can

be identified aquatic bird rhinoceros buffalo buffalo horn crucible markhor antelope

hoofed stool fish tree tree branch twig roundish stone tiger rice plant

Hieroglyph components on the head-gear of the person on cylinder seal

impression are twig crucible buffalo horns kuThI badari ziziphus jojoba twig Rebus

kuThi smelter koThAri crucible Rebus koThAri treasurer tattAru buffalo horn

Rebus ṭhaṭhāro brassworker

Ziziphur Jojoba badari twig

kūdī lsquotwigrsquo Rebus kuṭhi lsquosmelterrsquo The two ibexes + twig hieroglyhs thus connote a metal

merchantartisan with a smelter The bunch of twigs = kūdi_ kūṭī (Sktlex) kūdī (also

written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 51912) and Kauśika Sūtra

(Bloomsfields edn xliv cf Bloomsfield American Journal of Philology 11 355 12416

Roth Festgruss an Bohtlingk 98) denotes it as a twig This is identified as that of Badarī the

jujube tied to the body of the dead to efface their traces (See Vedic Index I p 177) Rebus

kuṭhi lsquosmelter furnacersquo (Santali)

This hieroglyph multiplex ligatures head of an antelope to a snake nAga snake

Rebus nAga lead ranku antelope Rebus ranku tin tuttināgamu is a Prakritam gloss

meaning pewter zinc A comparable alloy may be indicated by the hieroglyph-multiplex of

antelope-snake rankunAga perhaps a type of zinc or lead alloy

Two fish hieroglyphs flank the hoofed legs of the stool or platform signify warehouse of

cast metal alloy metal implements

Hieroglyph kaṇḍō a stool Rebus kanda implements

Hieroglyph maṇḍā raised platform stool Rebus maṇḍā warehouse

dula pair Rebus dul cast metal

ayo fish Rebus aya iron (Gujarati) ayas metal (Rigveda)

barad barat ox Rebus भरत (p 603) [ bharata ] n A factitious metal compounded of copper

pewter tin ampc(Marathi)

This mkultiplx is flanked by 1 kolom rice plant Rebus kolimi

smithy forge 2 kuTi tree Rebus kuThi smeter Thus the message is that the warehouse

of cast metal alloy metal implements is complemented by a smelter and a smithyforge --

part of the metalwork repertoire

The hieroglyph-multiplex of a woman thwarting two rearing tigers is also signified on other

seals and tablets to signify

Hieroglyph kola woman Rebus kol working in iron

dula pair Rebus dul cast metal PLUS kola tiger Rebus kolle blacksmith kolhe smeter

kolel smithy forge The kolmo rice-plant Rebus kolimi smithy forge is a semantic

determinant of the cipher smithy with smelter

The bottom register of the cylinder seal impression lists the products smithyforge forged

iron alloy castings (laterite PLUS spelter) hard alloy implements

goTa roundish stone Rebus gota laterite

dula pair Rebus dul cast metal PLUS rago buffalo Rebus rāṅgā zinc alloy spelter

pewter Thus cast spelter PLUS laterite

markhor PLUS tail

miṇḍāl markhor (Tōrwālī) meḍho a ram a sheep (Gujarati)(CDIAL 10120) Rebus mẽṛhẽt

meḍ iron (MundaHo) koṭe meṛed = forged iron in contrast to dul meṛed cast iron

(Mundari) PLUS Kur xolā tail Malt qoli id (DEDR 2135) Rebus kol working in

iron Ta kol working in iron blacksmith kollaṉ blacksmith Ma kollan blacksmith

artificer Ko kolel smithy temple in Kota village

Rhinoceros PLUS aquatic bird

Hieroglyhph kāṇṭā rhinoceros gaṇḍaacute m ʻ rhinoceros ʼ Rebus kāṇḍa tools pots and pans

and metal-ware (Gujarati)

karaṛa large aquatic bird (Sindhi) Rebus karaḍā hardalloy of metals (Marathi)

Impression Unknown Near Eastern origin One of the two anthropomorphic figures carved

on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs

surrounded by snakes fishes and water buffaloes Photo by M Chuzeville for Departement

des antiquities orientales Musee du Louvre (Parpola 1998 2001)

httpwwwharappacomscriptparpola0html (Note 11)

Two water-buffalos flanks a hieroglyph something round like a seed

Hieroglyph rago buffalo Rebus rāṅgā zinc alloy spelter pewter What does the

hieroglyph something round signify I suggest that it signifies goTa laterite (ferrous ore)

All these hieroglyhphshieroglyph-multiplexes are read as metalwork catalogue items in

Prakritam which had tadbhava tatsama identified in Samskritam in

Indian sprachbund (speech union)

httpbharatkalyan97blogspotin201508ancient-near-east-water-buffalohtml

m0478b tablet

erga = act of clearing jungle (Kui) [Note image showing two men carrying

uprooted trees] thwarted by a person in the middle with outstretched hands

Aḍaru twig aḍiri small and thin branch of a tree aḍari small branches (Ka) aḍaru twig

(Tu)(DEDR 67) Aḍar = splinter (Santali) rebus aduru = native metal (Ka) Vikalpa kūtī =

bunch of twigs (Skt) Rebus kuṭhi = furnace (Santali) ḍhaṁkhara mdash mn ʻbranch without

leaves or fruitʼ (Prakrit) (CDIAL 5524)

Hieroglyph era female applied to women only and generally as a mark of respect wife hopon

era a daughter era hopon a manrsquos family manjhi era the village chiefrsquos wife gosae era a

female Santal deity budhi era an old woman era uru wife and children nabi era a

prophetess diku era a Hindu woman (Santali)

bullRebus er-r-a = red eraka = copper (Ka) erka = ekke (Tbh of arka) aka (Tbh of arka) copper

(metal) crystal (Kalex) erako molten cast (Tulex) agasa_le agasa_li agasa_lava_du = a

goldsmith (Telex)

kuTi tree Rebus kuṭhi = (smelter) furnace (Santali)

heraka = spy (Skt) eraka hero = a messenger a spy (Gujarati) er to look at or for (Pkt) er uk- to

play peeping tom (Ko) Rebus erka = ekke (Tbh of arka) aka (Tbh of arka) copper (metal)

crystal (Kalex) cf eruvai = copper (Talex) eraka er-aka = any metal infusion

(KaTu) eraka lsquocopperrsquo (Kannada)

kōṭu branch of tree Rebus खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted

down) an ingot or wedge

Hieroglyph Looking back krammara look back (Telugu) kamar smith artisan (Santali)

kola lsquotiger jackalrsquo (Kon) rebus kol working in iron blacksmith lsquoalloy of five metals

panchaloharsquo (Tamil) kol lsquofurnace forgersquo (Kuwi) kolami lsquosmithyrsquo (Telugu)

^ Inverted V m478 (lid above rim of narrow-necked jar) The rimmed jar next to the tiger with

turned head has a lid Lid lsquoadarenrsquo rebus aduru lsquonative metalrsquo karnika rim of jar Rebus

karni supercargo (Marathi) Thus together the jar with lid composite hieroglyhph denotes

native metal supercargo karnaka = handle of a vessel ka_na_ kanna_ = rim edge kantu

= rim of a vessel kantudiyo = a small earthen vessel kanda kanka = rim of a water-pot

kankha kankha = rim of a vessel

Comparable hieroglyph of kneeling adorant with outstretched hands occurs on a Mohenjo-

daro seal m1186 m478A tablet and on Harappa tablet h177B

Rebus readings maṇḍa lsquo some sort of framework () ʼ [In nau - maṇḍḗ n du ʻ the two sets

of poles rising from the thwarts or the two bamboo covers of a boat () ʼ ŚBr Rebus

M maḍ m ʻ array of instruments ampc ʼ Si maḍa -- ya ʻ adornment ornament ʼ (CDIAL

9736) kamaḍha penance (Pkt)Rebus kampaṭṭam mint (Tamil) battuḍu n A worshipper

(Telugu) Rebus pattar merchants (Tamil) perh Vartaka (Skt)

m1186 seal kaulamdash m lsquoworshipper of Śakti according to leftmdashhand ritualrsquo khōlamdash3

lsquolamersquo Khot kūramdash lsquocrookedrsquo BSOS ix 72 and poss Sk kōramdash m lsquomovable jointrsquo Suśr]

Ash kṓlƏ lsquocurved crookedrsquo Dm kōla lsquocrookedrsquo Tir kṓolƏ Paš kōla lsquocurved crookedrsquo

Shum kola ṇṭa Kho koli lsquocrookedrsquo (Lor) also lsquolefthand leftrsquo Bshk kōl lsquocrookedrsquo

Phal kūulo Sh kōlu lsquocurved crookedrsquo (CDIAL 3533)

Rebus kol lsquopancaloharsquo (Tamil)

bhaTa worshipper Rebus bhaTa furnace baTa iron (Gujarati)

saman make an offering (Santali) samanon gold (Santali)

minDAl markhor (Torwali) meDho ram (Gujarati)(CDIAL 10120) Rebus me~Rhet meD

iron (MuHoSantali)

heraka spy (Samskritam) Rebuseraka molten metal copper

maNDa branch twig (Telugu) Rebus maNDA warehouse workshop (Konkani)karibha

jata kola Rebus karba ib jasta iron zinc metal (alloy of five metals)

maNDi kneeling position Rebus mADa shrine mandil temple (Santali)

dhatu scarf Rebus dhatu mineral ore (Santali)

The rice plant adorning the curved horn of the person (woman) with the pig-tail is kolmo

read rebus kolme lsquosmithyrsquo Smithy of what Kol lsquopancaloharsquo The curving horn is kodu

= horn rebus kod artisanrsquos workshop (Kuwi)

The long curving horns may also connote a ram on h177B tablet

h177B 4316 Pict-115 From Rmdasha person standing under an

ornamental arch a kneeling adorant a ram with long curving horns

The ram read rebus me~d lsquoironrsquo glyph me_ndha ram minda_l markhor (Tor) meh ram

(H) mei wild goat (WPah) me~rhwa_ a bullock with curved horns like a ramrsquos (Bi)

me~ra_ me~da_ ram with curling horns (H)

httpskalyan97wordpresscom20070629mleccha-written-read-rebus

Ganweriwala tablet Ganeriwala or Ganweriwala (Urdu گنےریواال Punjabi ریواالگنی ) is a

Sarasvati-Sindhu civilization site in Cholistan Punjab Pakistan

Glyphs on a broken molded tablet Ganweriwala The reverse includes the rim-of-jar glyph

in a 3-glyph text Observe shows a person seated on a stool and a kneeling adorant below

m1186 seal kaulamdash m lsquoworshipper of Śakti according to leftmdashhand ritualrsquo khōlamdash3

lsquolamersquo Khot kūramdash lsquocrookedrsquo BSOS ix 72 and poss Sk kōramdash m lsquomovable jointrsquo Suśr]

Ash kṓlƏ lsquocurved crookedrsquo Dm kōla lsquocrookedrsquo Tir kṓolƏ Paš kōla lsquocurved crookedrsquo

Shum kola ṇṭa Kho koli lsquocrookedrsquo (Lor) also lsquolefthand leftrsquo Bshk kōl lsquocrookedrsquo

Phal kūulo Sh kōlu lsquocurved crookedrsquo (CDIAL 3533)

Rebus kol lsquopancaloharsquo (Tamil)

bhaTa worshipper Rebus bhaTa furnace baTa iron (Gujarati)

saman make an offering (Santali) samanon gold (Santali)

minDAl markhor (Torwali) meDho ram (Gujarati)(CDIAL 10120) Rebus me~Rhet meD

iron (MuHoSantali)

heraka spy (Samskritam) Rebuseraka molten metal copper

maNDa branch twig (Telugu) Rebus maNDA warehouse workshop (Konkani)karibha

jata kola Rebus karba ib jasta iron zinc metal (alloy of five metals)

maNDi kneeling position Rebus mADa shrine mandil temple (Santali)

dhatu scarf Rebus dhatu mineral ore (Santali)

The rice plant adorning the curved horn of the person (woman) with the pig-tail is kolmo

read rebus kolme lsquosmithyrsquo Smithy of what Kol lsquopancaloharsquo The curving horn is kodu

= horn rebus kod artisanrsquos workshop (Kuwi)

The long curving horns may also connote a ram on h177B tablet

h177B 4316 Pict-115 From Rmdasha person standing under an

ornamental arch a kneeling adorant a ram with long curving horns

The ram read rebus me~d lsquoironrsquo glyph me_ndha ram minda_l markhor (Tor) meh ram

(H) mei wild goat (WPah) me~rhwa_ a bullock with curved horns like a ramrsquos (Bi)

me~ra_ me~da_ ram with curling horns (H)

httpskalyan97wordpresscom20070629mleccha-written-read-rebus

Ganweriwala tablet Ganeriwala or Ganweriwala (Urdu گنےریواال Punjabi ریواالگنی ) is a

Sarasvati-Sindhu civilization site in Cholistan Punjab Pakistan

Glyphs on a broken molded tablet Ganweriwala The reverse includes the rim-of-jar glyph

in a 3-glyph text Observe shows a person seated on a stool and a kneeling adorant below

bhaTa worshipper Rebus bhaTa furnace baTa iron (Gujarati)

Hieroglyph kamadha penance Rebus kammata coiner mint

Reading rebus three glyphs of text on Ganweriwala tablet brass-worker scribe turner

1 kuṭila lsquobentrsquo rebus kuṭila katthīl = bronze (8 parts copper and 2 parts tin) [cf āra-

kūṭa lsquobrassrsquo (Skt) (CDIAL 3230)

2 Glyph of lsquorim of jarrsquo kaacuterṇaka m ʻ projection on the side of a vessel handle ʼ ŚBr [kaacuterṇa -

- ]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)

kaacuteraṇa n ʻ act deed ʼ RV [radickr1] Pa karaṇa -- n ʻdoingʼ NiDoc

karana kaṁraṁna ʻworkʼ Pk karaṇa -- n ʻinstrumentʼ(CDIAL 2790)

3 khareḍo = a currycomb (G) Rebus kharādī lsquo turnerrsquo (G)

See httpbharatkalyan97blogspotin201307witzels-breath-taking-announcement-ofhtml

Hieroglyph मढा [mēḍhā] A twist or tangle arising in thread or cord a curl or snarl

(Marathi) Rebus meḍ iron copper (Munda Slavic) mẽṛhẽt meD iron (MuHoSantali)

meď copper (Slovak)

httpbharatkalyan97blogspotin201511ornamental-endless-knot-svastika-otherhtml

Ganeriwala is situated near the Indian border on the dry river bed of the Ghaggar-Hakra (also

called the Sarasvati River) now a part of vast desert It is spread over 80 hectares and

comparable in size with the largest sites of the Indus Valley Civilization such as Mohenjo-

daro A terrecotta tablet is a significant find In this seal a cross legged person (suggested as

yogic posture) and a kneeling person below a tree and upon a tree are depicted Such

kneeling persons on tree particularly in front of a tiger like animal are shown in tablets or

seals found at Harappa (H 163 a) Mohenjadaro(M 309 a) and Kalibangan (K

49a) httpenwikipediaorgwikiGaneriwala

Excerpts from a recent report (Dr Vasant Shinde and Dr Rick Willis) on copper plates with

Indus script inscriptionsThe copper plates described in this article are believed to date from

the Mature Harappan period 2600ndash1900 BC They were given to the second author in 2011

who realized that the plates were unusual as they were large and robust and bore mirrored

Indus script as found in seals but the inscriptions were relatively finely incised and unlikely

capable of leaving satisfactory impressions as with a sealThe copper plates superficially

resemble large Indus Valley seals as seven of the plates bear an image of an animal or

person plus reversed text Two of the copper plates bear only mirrored Indus characters

boldly engraved in two rows The plates are illustrated in Figure 2

kamaḍha lsquopenancersquo Rebus kammaṭa lsquomint coinerrsquo

koḍ = horns (Santali) koḍ lsquoworkshoprsquo (G)

Pair of fishes (hieroglyph on the chest of the seated person) dula pair Rebus dul cast

metal ayo fish Rebus ayas metal alloy ayairon (Gujarati) Thus dul aya cast metal alloy

httpbharatkalyan97blogspotin201410meluhha-hieroglyphs-evidence-ofhtml

Text on obverse of the tablet m453A Text 1629 m453BC Seated in penance the person is

flanked on either side by a kneeling adorant offering a pot and a hooded serpent rearing up

Glyph kaṇḍo lsquostoolrsquo Rebus kaṇḍ lsquofurnacersquo Vikalpa kaṇḍ lsquostone (ore) metalrsquo Rebus

kamaḍha lsquopenancersquo Rebus 1 kaṇḍ lsquostone orersquo Rebus 2 kampaṭṭa lsquomintrsquo Glyph lsquoserpent

hoodrsquo paṭa Rebus pata lsquosharpness (of knife) tempered (metal) padm lsquotempered ironrsquo (Ko)

Glyph rimless pot baṭa Rebus bhaṭa lsquosmelter furnacersquo It appears that the message of the

glyphics is about a mint or metal workshop which produces sharpened tempered iron (stone

ore) using a furnace

Rebus readings of glyphs on text of inscription

koṇḍa bend (Ko) Tu Kōḍi corner kōṇṭu angle corner crook Nk Kōnṭa corner (DEDR

2054b) G khūṭṛī f ʻangleʼRebus kotildedā lsquoto turn in a lathersquo(B) कोद kōnda lsquoengraver

lapidary setting or infixing gemsrsquo (Marathi) koḍ lsquoartisanrsquos workshoprsquo (Kuwi) koḍ = place

where artisans work (G) ācāri koṭṭya lsquosmithyrsquo (Tu) कोडण [kōṇḍaṇa] f A fold or pen

(Marathi) B kotildedā lsquoto turn in a lathersquo Orkūnda lsquolathersquo kũdibā kūd lsquoto turnrsquo (rarr Drav

Kur Kūd rsquo lathersquo) (CDIAL 3295)

aṭar lsquoa splinterrsquo (Ma) aṭaruka lsquoto burst crack sli offfly open aṭarcca rsquo splitting a

crackrsquo aṭarttuka lsquoto split tear off open (an oyster) (Ma) aḍaruni lsquoto crackrsquo (Tu) (DEDR

66) Rebus aduru lsquonative unsmelted metalrsquo (Kannada)

atildes = scales of fish (Santali) rebus aya lsquometal ironrsquo (Gujarati) cf cognate to amśu soma in

Rigveda ancu iron (Tocharian)

Gkara n pl lsquowristlets banglesrsquo S karāī f rsquowristrsquo (CDIAL 2779) Rebus

khār खार lsquoblacksmithrsquo (Kashmiri)

dula lsquopairrsquo rebus dul lsquocast (metal)rsquo

Glyph of lsquorim of jarrsquo kaacuterṇaka m ʻ projection on the side of a vessel handle ʼ ŚBr [kaacuterṇa --

]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)

kaacuteraṇa n ʻ act deed ʼ RV [radickr1] Pa karaṇa -- n ʻdoingʼ NiDoc karana kaṁraṁna

ʻworkʼ Pk karaṇa -- n ʻinstrumentʼ(CDIAL 2790)

The suggested rebus readings indicate that the Indus writing served the purpose of

artisanstraders to create metalware stoneware mineral catalogs -- products with which they

carried on their life-activities in an evolving Bronze Age

httpbharatkalyan97blogspotin201504migrating-channels-of-vedic-riverhtml

Cernunnos is shown seated in penance (comparable to the sitting posture of the seated person

on the Mohenjo-daro seal m0304)

Hieroglyph kamaḍha lsquopenancersquo (Prakritam) Rebus kammaṭa lsquomint coinerrsquo(Telugu)

Cernunnos is named in an inscription on the 1st cent CE Pillar of the Boatmen

(French Pilier des nautes) with bas-relief depictions Dating to the first quarter of the 1st

century AD it originally stood in a temple in the Gallo-

Romancivitas of Lutetia (modern Paris France) and is one of the earliest pieces of

representational Gaulish art to carry a written inscriptionIt is displayed in

the frigidarium of the Thermes de ClunyCernunnos has stags antlers from which hang two

torcs From the amount of the body in the top half Cernunnos is assumed to have been

depicted in a cross-legged seated positionSmertrios is shown kneeling brandishing a club

and attacking a snake Castor and Pollus are shown standing beside their horses each

holding a spearJupiter is shown standing holding a spear and a thunderbolt Esus is shown

standing beside a willow tree which he is cutting down with an axe Tarvos Trigaranus is

depicted as a large heavy-set bull standing in front of a willow tree Two cranes stand on his

back and a third on his head Vulcan is shown standing with hammer and tongs

One panel shows three warriors (who were perhaps also boatmen who accompanied to guard

the treasures of seafaring merchants)

httpsenwikipediaorgwikiPillar_of_the_Boatmen On this Pillar of the Boatmen

Cernunnos is shown as a horned person flanked by two rings (torcs) The message is ancient

seafaring metalworkers

The pillar provides the only undisputed instance of the divine name Cernunnos(John Koch

editor Celtic Culture A Historical Encyclopedia (ABC-Clio 2006) p396)

m304

तरि--तरिरस [p= 4603] mfn n कबर L three-pointed MBh xiii R iv three-headed (तवाषर author

of RV x 8) Ta1n2d2yaBr xvii Br2ih KaushUp MBh Ka1m (Monier-Williams)

tvāṣṭra तवाषर copper This meaning is significant if tvaṣṭṛ remembered as Cernunnos as a

boatman from Meluhha The seafaring boatman from Meluhha was a metalworker worker in

copper He was also a chariot-maker celebrated in harosheth haggoyimsmithy of nations

(Old Bible The Judges)

The author of Sukta RV 108 and 109 is tvaṣṭṛ तवषट m [तवकष-तच] 1 A carpenter builder

workman तवषरव शवशहत यनतरम Mb123322 -2 Viśvakarman the architect of the gods [Tvaṣtṛi is

the Vulcan of the Hindu mythology He had a son named Triśiras and a daughter called सजञा

who was given in marriage to the sun But she was unable to bear the severe light of her

husband and therefore Tvaṣtṛi mounted the sun upon his lathe and carefully trimmed off a

part of his bright disc cf आरोपय चकरभरशममषणतजासतवषरव यतनो- शललशखतो शवभाशत R632 The part trimmed

off is said to have been used by him in forming the discus of Viṣṇu the Triśūla of Śiva and

some other weapons of the gods] पवघत चाशप जगराह करदधसतवषटा महाबलः Mb1227 34 -3 Prajāpati (the

creator) या चकार सवय तवषटा रामसय मशहषी शपरयाम Mb32749 -4 Āditya a form of the sun शनशभघनतन अशकषणी तवषटा

लोकपालो$शवशशिभोः Bhāg3615

tvāṣṭra

तवाषर a Belonging or coming from तवषट तवाषर यद दसरावशपककषय वाम Rv111722 -षटरः Vṛitra यनावता इम

लोकासतमसा तवाषरमशतघना स व वर इशत परोकतः पापः परमदारणः Bhāg691811125 -षटरी 1 The asterism Chitra -

2 A small car -षटरम 1 Creative power तपःसारमय तवाषर वरो यन शवपाशटतः Bhāg81135 -2 Copper

rsi trisira_ tvastra devata_ agni 7-9 indra chanda tristup

RV 108

1000801 Agni traverses heaven and earth with a vast banner he roars (like) a bull he

spreads aloft over the remote and proximate (regions) of the sky mighty he increases in the

lap of the water [Agni traverses as the lightning in the firmament]

1000802 THe embryo (of heaven and earth) the showerer (of benefits) the glorious

rejoices the excellent child (of morn and eve) the celebrator of holy rites calls aloud

assiduous in exertions at the worship of the gods he moves chief in his own abodes

1000803 They have placed in the sacrifice the radiance of the powerful Agni who seizes

hold of the forehead of his parents gratifying his cherished radiant and expanding limbs in

their course in their chamber of sacrifice [His parents the parents are either heaven or earth

or the two pieces of touchwood gratifyingof sacrifice asvabudhna_h = vya_ptamu_la_H

with outspread bases ie broad at the bottom and tapering to the top the usual shape of a

fire in his fight the dawns drawn by horses rejoice their bodies in the source of truth (ie

the sun)]

1000804 Opulent Agni you precede dawn after dawn You are the illuminator of the twin

(day and night) engendering Mitra from your own person you retain seven places for

sacrifice [Mitra the sun seven places the seven altars for the fire dhisnya_ etc]

1000805 You are the eye the protector of the great sacrifice when you proceed to the rite

you are Varuna you are the grandson of the waters Ja_tavedas you are the messenger (of

him) whose oblation you enjoy

1000806 You are the leader of the sacrifice and sacrificial water to the place in which you

are associated with the auspicious steeds of the wind you sustain the all-enjoying (sun) as

chief in heaven you Agni make your tongue the bearer of the oblation [The place ie the

firmament you sustain in heaven you raise your glorious head in heaven you

makeoblation yada_ when Agni you have so done you are the leader you are the

leader of the sacrifice and of water (rain) in the firmament and in heaven (Yajus 1315)]

1000807 Trita by (his own) desiring a share (of the sacrifice) for the sake of taking part in

the exploit of the supreme protector (of the world) chose (Indra as his friend) attended (by

the priests) in the proximity of the parental heaven and earth and reciting appropriate praise

he takes up his weapons [Legend Indra said to Trita You are skiled in the weapons of all

aid me in killing Trisiras the son of Tvasta_ Trita agreed on condition of having a share in

the sacrifices offered to Indra Indra gave him water to wash his hands with and a share in

the sacrifice whereby Tritas strength increased seven-rayed ie seven-tongued seven-

rayed like the sun or seven-handed]

1000808 He the son of the waters incited by Indra skilled in his paternal weapons fought

against (the enemy) and slew the seven-rayed three-headed (asura) then Trita set free the

cows of the son of Tvasta_

1000809 Indra the protector of the virtuous crushed the arrogant (foe) attaining vast

strenth shouting he cut off the three heads of the multiform son of Tvasta_ (the lord) of

cattle [Shouting sabdam kurvan gona_m acakra_nah appropriating the cattle]

rsi trisira_ tvastra or sindhudvi_pa a_mbari_sa devata_ a_po devata_ (jalam) chanda

ga_yatri_ 5 vardhama_na_ ga_yatri_ 7 pratistha_ ga_yatri_ 7-9 anustup

RV 109

1000901 Since waters you are the sources of happiness grant to us to enjoy abundance

and great and delightful perception [Great and delightful perception mahe rana_ya caksase

= samyajn~a_nam perfect knowledge of brahman the rca solicits happiness both in this

world and in the next the rapturous sight of the supreme god to behold great joy]

1000902 Give us to partake in this world of your most auspicious Soma like affectionate

mothers

1000903 Let us quickly have recourse to you for that your (faculty) of removing (sin) by

which you gladden us waters bestow upon us progeny [Let us go to you at once for him to

whose house you are hastening waters reinvogorate us faculty of removing sin ksaya =

niva_sa abode aram = parya_ptim sufficiency perhaps a recommendation to be regular in

practising ablution]

1000904 May the divine water be propitious to our worship (may they be good) for our

drinking may they flow round us and be our health and safety [This and previous three

rcas are repeated at the daily ablutions of the bra_hmanas]

1000905 Waters sovereigns of precious (treasures) granters of habitations to men I solicit

of you medicine (for my infirmities) [Precious va_rya_na_m = va_riprabhava_na_m

vri_hiyava_dina_m the products of the water rice barley etc bhesajam = happiness

driving away sin]

1000906 Soma has declared to me all medicaments as well as Agni the benefactor of the

RV 109

1000901 Since waters you are the sources of happiness grant to us to enjoy abundance

and great and delightful perception [Great and delightful perception mahe rana_ya caksase

= samyajn~a_nam perfect knowledge of brahman the rca solicits happiness both in this

world and in the next the rapturous sight of the supreme god to behold great joy]

1000902 Give us to partake in this world of your most auspicious Soma like affectionate

mothers

1000903 Let us quickly have recourse to you for that your (faculty) of removing (sin) by

which you gladden us waters bestow upon us progeny [Let us go to you at once for him to

whose house you are hastening waters reinvogorate us faculty of removing sin ksaya =

niva_sa abode aram = parya_ptim sufficiency perhaps a recommendation to be regular in

practising ablution]

1000904 May the divine water be propitious to our worship (may they be good) for our

drinking may they flow round us and be our health and safety [This and previous three

rcas are repeated at the daily ablutions of the bra_hmanas]

1000905 Waters sovereigns of precious (treasures) granters of habitations to men I solicit

of you medicine (for my infirmities) [Precious va_rya_na_m = va_riprabhava_na_m

vri_hiyava_dina_m the products of the water rice barley etc bhesajam = happiness

driving away sin]

1000906 Soma has declared to me all medicaments as well as Agni the benefactor of the

universe are in the waters [This and the following rcas of the su_kta are repetitions from

RV1 23 20-23 in mandala 1 Soma speaks to Kanva in this present mandala Soma

speaks to A_mbari_sa Sindhudvi_pa a ra_ja_]

1000907 Waters bring to perfection all disease-dispelling medicaments for the good of my

body that I may behold the Sun

1000908 Waters take away whatever sin has been (found) in me whether I have

(knowingly) done wrong or have pronounced imprecations (against holy men) or have

spoken untruth

1000909 I have this day entered into the waters we have mingled with their essence Agni

abiding in the waters approach and fill me (thus bathed) with vigour [I invoke for

protection the divine (waters) of excellent wisdom discharging their functions (tadapasah)

flowing by day and flowing by night supplementary khila 123 sasrusis tada_paso diva_

naktam ca sasrusih varenyakratur ahama devir avase huve]

तरिस [p=4613] ind ( Pa1n2 5-4 18) thrice 3 times RV (सपतअ 3 x 7 i iv vii

ff अहनस or अहन thrice a day i iii f ix f cf Pa1n2 2-3

64) S3Br Ka1tyS3r Mn (अबदसय thrice a year iii xi) ampc before gutturals and palatals

([cf RV viii 91 7]) ःः may be substituted by ष Pa1n2 8-3 43

See httpbharatkalyan97blogspotin201508indus-script-evidence-pasupati-sealhtml

Indus Script evidence Pasupati seal deciphered Bronze-age metalwork technology transfers

from ancient India to Japan amp Slovakia reinforced by Japanese and Slavic word

This boatman Cernunnos is the boatman from Meluhha shown on a Mohenjo-daro seal m

304 Mohenjo-daro seal DK 5175 now in the National Museum of India New Delhi Seated

person with buffalo horns Head gear Hieroglyph taTThAr buffalo horn Rebus taTTAr brass worker

Hieroglyph goṇḍe ʻ cluster ʼ (Kannada) Rebus kuṇḍi-a = village headman leader of a

village (Prakritam)

mũh face rebus metal ingot (Santali) mũha = 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 end kolhe tehen me~ṛhe~t mūhā

akata = the Kolhes have to-day produced pig iron (Santalilex)

Shoggy hair tigerrsquos mane sodo bodo sodro bodro adj adv rough hairy shoggy hirsute

uneven sodo [Persian sodā dealing] trade traffic merchandise marketing a bargain the

purchase or sale of goods buying and selling mercantile dealings (Glex) sodagor = a

merchant trader sodāgor (PB) (Santalilex) The face is depicted with bristles of hair

representing a tigerrsquos mane cūḍā cūlā cūliyā tigerrsquos mane (Pkt)(CDIAL 4883)Rebus cūḷai

furnace kiln funeral pile (Te)(CDIAL 4879 DEDR 2709) Thus the composite glyphic

composition bristled (tigers mane) face is read rebus as sodagor mũh cūḷa furnace (of)

ingot merchant

kamarasāla = waist-zone waist-band belt (Te) karmāraśāla = workshop of blacksmith (Skt)

kamar lsquoblacksmithrsquo (Santali)

The person on platform is seated in penance kamaḍha penance (Pkt) Rebus kammaṭa

lsquomint coinerrsquo (Malayalam)

Hieroglyph arms with bangles kara nplʻwristlets banglesʼ(Gujarati)(CDIAL 2779)

Rebus khār खार blacksmith (Kashmiri)

khār खार लोहकारः m (sg abl khāra 1 खार the pl dat of this word is khāran 1 खारन which is

to be distinguished from khāran 2 qv sv) a blacksmith an iron worker (cf bandūka-

khār p 111bl 46 KPr 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

khāra-basta खार-बसःत चमघपरसशवका f the skin bellows of a blacksmith -buumlṭhuuml -बampaboveठampbelow लोहकारशभशततः f the wall of a blacksmiths furnace or hearth -bāy -बाय लोहकारपतनी f a blacksmiths wife (GrGr 34) -dokuru -िकरampbelow लोहकारायोरनः m a

blacksmiths hammer a sledge-hammer -gaji -गampaboveशजampbelow or -guumljuuml -गampaboveजampbelow लोहकारचशललः f a blacksmiths furnace or hearth -hāl -हाल लोहकारकनतदः f (sg

dat -houmljuuml -हाampaboveजampbelow) a blacksmiths smelting furnace cf hāl 5 -kūruuml -करampbelow लोहकारकनतया f a blacksmiths daughter -koṭu -कampaboveटampbelow लोहकारपरः m the

son of a blacksmith esp a skilful son who can work at the same profession -kuumlṭuuml -कampaboveटampbelow लोहकारकनतया f a blacksmiths daughter esp one who has the virtues and

qualities properly belonging to her fathers profession or caste -meuml˘ʦuuml 1 -मयampaboveचampdotbelowःampbelow लोहकारमशततका f (for 2 see [khāra 3] ) blacksmiths earth

ie iron-ore -necyuwu -नतयशचवampbelow लोहकारातमजः m a blacksmiths son -nay -नय लोहकारनाशलका f (for khāranay 2 see [khārun] ) the trough into which the blacksmith allows

melted iron to flow after smelting -ʦantildee -चampdotbelowञ लोहकारशानतताङगाराः fpl charcoal used

by blacksmiths in their furnaces -wān वान लोहकारापणः m a blacksmiths shop a forge smithy

(KPr 3) -waṭh -वठ आराताधारशशला m (sg dat -waṭas -वशट) the large stone used by a

blacksmith as an anvil(Kashmiri)

Kur kaṇḍō a stool Malt kanḍo stool seat (DEDR 1179) Rebus kaṇḍ = a furnace altar

(Santalilex) kuntam haystack (Te)(DEDR 1236) Rebus kuṇḍamu a pit for receiving and

preserving consecrated fire (Te)

A pair of hayricks a pair of antelopes kundavum = manger a hayrick (G) Rebus kundār

turner (A) kũdār kũdāri (B) kundāru (Or) kundau to turn on a lathe to carve to chase

kundau dhiri = a hewn stone kundau murhut = a graven image (Santali) kunda a turners

lathe (Skt)(CDIAL 3295)

Decoding a pair dula दल यगमम m a pair a couple esp of two similar things (Rām 966)

(Kashmiri) dol lsquolikeness picture formrsquo (Santali) Rebus dul lsquoto cast metal in a mouldrsquo

(Santali) dul meṛeḍ cast iron (Mundari Santali)

Antelope miṇḍāl lsquomarkhorrsquo (Tōrwālī) meḍho a ram a sheep (G)(CDIAL 10120) rebus

mẽṛhẽt meḍ lsquoironrsquo (MuHo)

Glyph krammara lsquolook backrsquo (Te) Rebus kamar lsquosmithrsquo (Santali) Vikalpa 1 mlekh

lsquoantelopersquo(Br) milakkhu lsquocopperrsquo (Pali) Vikalpa 2 kala stag buck (Ma) Rebus kallan

mason (Ma) kalla glass beads (Ma) kalu stone (Konda) xal id boulder (Br)(DEDR

1298) Rebus kallan lsquostone-bead-makerrsquo

Thus together the glyphs on the base of the platform are decoded rebusmeḍ kamar dul

meṛeḍ kũdāriron(metal)smith casting (and) turner

Animal glyphs around the seated person buffalo boar (rhinoceros) elephant tiger

(jumping)

rangā lsquobuffalorsquo ranga lsquopewter or alloy of tin (ranku) lead (nāga) and antimony

(antildejana)rsquo(Santali)

kANDa rhinoceros Rebus khaNDa metal implements

ibha lsquoelephantrsquo (Skt) rebus ib lsquoironrsquo (Santali) karibha lsquotrunk of elephantrsquo (Pali) rebus karb

lsquoironrsquo (Ka)

kolo koleā jackal (KonSantali) kola kukur white tiger (A) dāṭu lsquoleaprsquo (Te) rebus kol

pantildecaloha five metals(Ta) kol furnace forge (Kuwi) dāṭu jump (Te) Rebus dhātu

lsquomineralrsquo (Skt) Vikalpa puṭi to jump puṭa calcining of metals Thus the glyph jumping

tiger read rebus furnace for calcining of metals

Decoding the text of the inscription

Text 2420 on m0304

Line 2 (bottom) body glyph mēd lsquobodyrsquo (Kur)(DEDR 5099) meḍ lsquoironrsquo (Ho)

Line 1 (top)

Body glyph plus ligature of splinter shown between the legs mēd lsquobodyrsquo (Kur)(DEDR

5099) meḍ lsquoironrsquo (Ho) sal lsquosplinterrsquo Rebus sal lsquoworkshoprsquo (Santali) Thus the ligatured

glyph is read rebus as meḍ sal iron (metal) workshop

Sign 216 (Mahadevan) ḍato lsquoclaws or pincers (chelae) of crabsrsquo ḍaṭom ḍiṭom to seize with

the claws or pincers as crabs scorpions ḍaṭkop = to pinch nip (only of crabs) (Santali)

Rebus dhatu lsquomineralrsquo (Santali) Vikalpa erā lsquoclawsrsquo Rebus era lsquocopperrsquo Allograph

kamaṛkom = fig leaf (Santalilex) kamarmaṛā (Has) kamaṛkom (Nag) the petiole or stalk

of a leaf (Mundarilex) kamatha = fig leaf religiosa (Skt)

Sign 229 sannī sannhī = pincers smithrsquos vice (P) śannī f ʻ small room in a house to keep

sheep in lsquo (WPah) Bshk šan Phalšān lsquoroofrsquo (Bshk)(CDIAL 12326) seṇi (f) [Class Sk

śreṇi in meaning guild Vedic= row] 1 a guild Vin iv226 J i267 314 iv43 Dāvs ii124

their number was eighteen J vi22 427 VbhA 466 ˚ -- pamukha the head of a guild J ii12

(text seni -- ) -- 2 a division of an army J vi583 ratha -- ˚ J vi81 49 seṇimokkha the chief

of an army J vi371 (cp senā and seniya) (Pali)

Sign 342 kaṇḍa kanka rim of jar (Santali) karṇaka rim of jarrsquo(Skt) Rebus karṇaka lsquoscribe

accountantrsquo (Te) gaṇaka id (Skt) (Santali) copper fire-altar scribe (account)(Skt) Rebus

kaṇḍ lsquofire-altarrsquo (Santali) Thus the rim of jar ligatured glyph is read rebus fire-altar

(furnace) scribe (account) karNI supercargo (Marathi)

Sign 344 Ligatured glyph rim of jar ligature + splinter (infixed) rim of jar ligature is read

rebus kaṇḍa karṇaka furnace scribe (account)

sal stake spike splinter thorn difficulty (H) Rebus sal lsquoworkshoprsquo (Santali) ஆமைsup3 ālai

n lt šālā 1 Apartment hall சொமை ஆமைவசர வவளவி (வேவொ 844 7) 2 Elephant stable

or stall யொமைககூடம களிறு வசரந ேலகிய வழுஙக ைொமை (புறநொ 220 3)ஆமைககுழி ālai-

k-kuḻi n lt ஆமைsup1 + Receptacle for the juice underneath a sugar-cane press

கருமபொமையிற சொவறறகும அடிககைமஆமைதளேொடடி ālai-t-toṭṭi n lt id + Cauldron for

boiling sugar-cane juice கருபபஞ சொறு கொயசசும சொலஆமைபொய-ேல ālai-pāy- v intr lt id

+ 1 To work a sugar-cane mill ஆமையொடடுேல ஆமைபொவயொமே (வசதுபு நொடடு 93) 2

To move toss as a ship அமைவுறுேல (R) 3 To be undecided vacillating ைைஞ

சுழலுேல ளநஞச ைொமைபொயந துள ைழிகினவறன (அருடபொ) Vikalpa sal lsquosplinterrsquo rebus

workshop (sal)rsquo ālai lsquoworkshoprsquo (Ta) ஆமைsup3 ālai n lt šālā 1 Apartment hall சொமை

ஆமைவசர வவளவி (வேவொ 844 7) 2 Elephant stable or stall யொமைககூடம களிறு வசரந

ேலகிய வழுஙக ைொமை (புறநொ 220 3)ஆமைககுழி ālai-k-kuḻi n lt ஆமைsup1 + Receptacle for

the juice underneath a sugar-cane press கருமபொமையிற சொவறறகும

அடிககைமஆமைதளேொடடி ālai-t-toṭṭi n lt id + Cauldron for boiling sugar-cane juice

கருபபஞ சொறு கொயசசும சொலஆமைபொய-ேல ālai-pāy- v intr lt id + 1 To work a sugar-

cane mill ஆமையொடடுேல ஆமைபொவயொமே (வசதுபு நொடடு 93) Thus together with the

splinter glyph the entire ligature rim of jar + splintersplice is read rebus as furnace scribe

(account workshop) Sign 59 ayo hako fish a~s = scales of fish (Santali) rebus aya = iron

(G) ayah ayas = metal (Skt) Sign 342 kaṇḍa karṇaka rim of jar rebus furnace scribe

(account) Thus the inscription reads rebus iron iron (metal) workshop copper (mineral)

guild fire-altar (furnace) scribe (account workshop) metal furnace scribe (account) As the

decoding of m0304 seal demonstrates the Indus hieroglyphs are the professional repertoire

of an artisan (minersmetalworkers) guild detailing the stonemineralmetal

resourcesfurnacessmelters of workshops (smithyforgeturners shops)

httpbharatkalyan97blogspotin201509indus-script-corpora-hieroglyphs-linkhtml

Selected Meluhha homonyms

lo no lsquoninersquo phonetic reinforcement of loa lsquoficusrsquo Rebus lo lsquocopperrsquo

muh lsquohuman facersquo Rebus muh lsquoingotrsquo (See human face ligatured to a markhor Seal m1186)

Kur mūxā frog Malt muacuteqe id Cf Skt mūkaka- id (DEDR 5023) Rebus muh lsquoingotrsquo

muka lsquoladlersquo (Tamil)(DEDR 4887) Rebus muh lsquoingotrsquo (Santali)

bicha lsquoscorpionrsquo (Assamese) Rebus bica lsquostone orersquo (Santali)

kuṭi lsquowater-carrierrsquo Rebus kuṭhi lsquosmelter furnacersquo

kuṭi lsquotreersquo Rebus kuṭhi lsquosmelterrsquo

kuṭi lsquopudendum muliebrersquo kuṭhi lsquosmelterrsquo

kūdī bunch of twigs (Sanskrit) Rebus kuṭhi smelter furnace (Santali)

kōḍu horn (Kannada Tulu Tamil) Rebus kōḍu horn Rebus lsquoworkshoprsquo

mlekh lsquogoatrsquo Rebus milakkhu lsquocopperrsquo (Pali) mlecchamukha lsquocopperrsquo (Sanskrit)

Dm mraṅ m lsquomarkhorrsquo Wkh merg f lsquoibexrsquo (CDIAL 9885)

Tor miṇḍ lsquoramrsquo miṇḍa l lsquomarkhorrsquo (CDIAL 10310) Rebus meḍ (Ho) mẽṛhet lsquoironrsquo

(MundaHo)

maṇḍā lsquoraised platform stoolrsquo Rebus maṇḍā lsquowarehousersquo

maṇḍa ʻ some sort of framework () In nau -- maṇḍḗ n du ʻ the two sets of poles rising from

the thwarts or the two bamboo covers of a boat () ʼ ŚBr (CDIAL 9737)

maṇḍa m ʻ ornament ʼ lex [radicmaṇḍ] Pk maṁḍaya -- ʻ adorning ʼ

Ash mōṇḍa mōnda mūnda NTS ii 266 mōṇə NTS vii 99 ʻ clothes ʼ G maḍ m ʻ

arrangement disposition vessels or pots for decoration ʼ māṇ f ʻ beautiful array of

household vessels ʼ M maḍm ʻ array of instruments ampc ʼ Si maḍa -- ya ʻ adornment

ornament ʼ (CDIAL 9736) Rebus meḍ (Ho) mẽṛhet lsquoironrsquo (MundaHo)

maṇḍa (Sanskrit) OMarw mīḍako m ʻ frog ʼ mīṁḍakī f ʻ small frog ʼ

G me_ḍak meḍdeg m me_ḍkī meḍdeg f M mẽḍūk -- mukh n ʻ frog -- like face ʼ 1

Pa maṇḍūka -- m degkī -- f ʻ frog ʼ Pk maṁḍū˘ka -- degḍūa -- degḍuga -- m (CDIAL

9746) Rebus mẽṛhẽt meḍ lsquoironrsquo (MuHo)

miṇḍāl lsquomarkhorrsquo (Tōrwālī)meḍho a ram a sheep (Gujarati)(CDIAL 10120) Rebus mẽṛhẽt

meḍ lsquoironrsquo (MuHo)

bhaṭā G bhuvɔ m ʻ worshipper in a temple ʼ rather lt bhrta --(CDIAL

9554) Yājntildecom Rebus bhaṭā lsquokiln furnacersquo

eragu lsquobowrsquo erugu = to bow to salute or make obeisance (Telugu)er-agu = obeisance

(Kannada) [Note image of an offering adorant] Rebus eraka erka = copper (Kannada) erako

lsquomoltencast copperrsquo(Gujarati)

baṭa = rimless pot (Kannada) Rebus baṭa = a kind of iron (Gujarati)

Mn bhaṭa -- m ʻ hired soldier servant ʼ MBh S bhaṛu ʻ clever proficient ʼ m ʻ an adept ʼ

Ku bhaṛ m ʻ hero brave man ʼ adj ʻ mighty ʼ B bhaṛ ʻ soldier servant nom prop

ʼ bhaṛil ʻ servant hero ʼ bhrtaka -- m ʻ hired servant ʼ (CDIAL 9588) Rebus M bhaḍ f

ʻcrackling fuelʼ(CDIAL 9365)S baṭhu m ʻ large pot in which grain is parched large

cooking fire ʼ baṭhī f ʻ distilling furnace ʼ L bhaṭṭh m ʻ grain -- parchers oven ʼ bhaṭṭhī f

ʻ kiln distillery ʼ awāṇ bhaṭh P bhaṭṭh m degṭhī f ʻ furnace ʼ bhaṭṭhā m ʻ kiln ʼ N bhāṭi ʻ

oven or vessel in which clothes are steamed for washing ʼ A bhaṭā ʻ brick -- or lime -- kiln

ʼ B bhāṭi ʻ kiln ʼ Or bhāṭi ʻ brick -- kiln distilling pot ʼ Mth bhaṭhī bhaṭṭī ʻ brick -- kiln

furnace still ʼ Awlakh bhāṭhā ʻ kiln ʼ H bhaṭṭhā m ʻ kiln ʼ bhaṭ f ʻ kiln oven fireplace

ʼ M bhaṭṭā m ʻ pot of fire ʼ bhaṭṭī f ʻ forge (CDIAL 9656)

kola lsquowomanrsquo Rebus kol lsquoworking in ironrsquo kolhe lsquosmelterrsquo

kol lsquotigerrsquo Rebus kol lsquoworking in ironrsquo kolhe lsquosmelterrsquo

The kneeling person is indicative of worshipful state That a smelterforge kolel is a temple

is emphatic from the etyma the gloss kolelmeans smithy temple Ta kol working in

ironblacksmith kollaṉ blacksmith Ma kollan blacksmith artificer Ko kolel smithy

temple in Kota village To kwalal Kota smithy Kakolime kolume kulame kulime

kulume kulme fire-pit furnace (Bell UPU) konimi

blacksmith(Gowda) kolla id Koḍ kolleuml blacksmith Te kolimi furnaceGo (SR) kollusānā t

o mend implements (Ph) kolstānā kulsānā to forge (Tr) kōlstānā to repair (of

ploughshares) (SR) kolmi smithy (Voc 948) Kuwi (F) kolhali to forge(DEDR 2133)

kamaḍha lsquopenancersquo Rebus kammaṭa lsquomint coinerrsquo

kaṇḍo lsquostool seatrsquo Rebus kāṇḍa lsquometalwarersquo kaṇḍa lsquofire-altarrsquo

loa lsquoficus religiosarsquo Rebus lo lsquoironrsquo (Sanskrit)

bagala lsquopleiadesrsquo Rebus bagalo = an Arabian merchant vessel (G) bagala = an Arab boat of

a particular description (Ka) bagalā (M)bagarige bagarage = a kind of vessel (Ka)

dhaṭu m (also dhaṭhu) m lsquoscarfrsquo (Western Pahari) (CDIAL 6707) Rebus dhatu lsquomineralsrsquo

(Santali)

sagāḍā m ʻ frame of a building ʼ degḍī f ʻ lathe ʼ(CDIAL 12859) Rebus sangataras सगतराश lit

lsquoto collect stones stone-cutter masonrsquo

dula pair Rebus dul cast metal (See two scorpions two ladles)

कमम [p= 3002] शवषणs second incarnation (descent in the form of a tortoise to support the

mountain मनतदर at the churning of the ocean)नरशसह-पराण m a tortoise

turtle VS TS ampc (ifc f(आ) MBh iv 2016) the earth considered as a tortoise swimming on

the waters (raquo -शवभाग)

httpbharatkalyan97blogspotin201410indus-script-inscriptions-examples-ofhtml

S Kalyanaraman

Sarasvati Research Center

April 23 2016

httpwwwmarkfosternetrndasavatara-wikibookpdf

httpswwwscribdcomdoc310151497dasavatara-wikibook

dasavatara-wikibook

The kneeling person is indicative of worshipful state That a smelterforge kolel is a temple

is emphatic from the etyma the gloss kolelmeans smithy temple Ta kol working in

ironblacksmith kollaṉ blacksmith Ma kollan blacksmith artificer Ko kolel smithy

temple in Kota village To kwalal Kota smithy Kakolime kolume kulame kulime

kulume kulme fire-pit furnace (Bell UPU) konimi

blacksmith(Gowda) kolla id Koḍ kolleuml blacksmith Te kolimi furnaceGo (SR) kollusānā t

o mend implements (Ph) kolstānā kulsānā to forge (Tr) kōlstānā to repair (of

ploughshares) (SR) kolmi smithy (Voc 948) Kuwi (F) kolhali to forge(DEDR 2133)

kamaḍha lsquopenancersquo Rebus kammaṭa lsquomint coinerrsquo

kaṇḍo lsquostool seatrsquo Rebus kāṇḍa lsquometalwarersquo kaṇḍa lsquofire-altarrsquo

loa lsquoficus religiosarsquo Rebus lo lsquoironrsquo (Sanskrit)

bagala lsquopleiadesrsquo Rebus bagalo = an Arabian merchant vessel (G) bagala = an Arab boat of

a particular description (Ka) bagalā (M)bagarige bagarage = a kind of vessel (Ka)

dhaṭu m (also dhaṭhu) m lsquoscarfrsquo (Western Pahari) (CDIAL 6707) Rebus dhatu lsquomineralsrsquo

(Santali)

sagāḍā m ʻ frame of a building ʼ degḍī f ʻ lathe ʼ(CDIAL 12859) Rebus sangataras सगतराश lit

lsquoto collect stones stone-cutter masonrsquo

dula pair Rebus dul cast metal (See two scorpions two ladles)

कमम [p= 3002] शवषणs second incarnation (descent in the form of a tortoise to support the

mountain मनतदर at the churning of the ocean)नरशसह-पराण m a tortoise

turtle VS TS ampc (ifc f(आ) MBh iv 2016) the earth considered as a tortoise swimming on

the waters (raquo -शवभाग)

httpbharatkalyan97blogspotin201410indus-script-inscriptions-examples-ofhtml

S Kalyanaraman

Sarasvati Research Center

April 23 2016

httpwwwmarkfosternetrndasavatara-wikibookpdf

httpswwwscribdcomdoc310151497dasavatara-wikibook

dasavatara-wikibook