Introduction of Indian Textiles (original) (raw)
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Buddhist Jewels in Mortuary Cult Magic Symbols
Agam Kala Prakaahan, 2019
The Preface and Introduction to my recently published book "Buddhist Jewels in Mortuary Cult: Magic Symbols" is a corollary to the line of argument proposed by the title of a paper "Buddha's Birthplace is not in Nepal and Buddhism did not originate in India" recently uploaded in academia.edu
Indus Script pottige, 'books' are delivered on போதிகை pōtikai 'architraves' of doorways, pillarsand on friezes of processions for pilgrims to see, read, understand meanings and enjoy the documented, written details of heritage of wealth shared and handed down. போதிகை pōtikai 'architraves' rebus: pottage, pottige 'books'. Some examples of architraves and friezes with Indus Script meaningful messages are presented in this monograph. Classic examples are 1.Mari marble frieze 2.Shalamaneser III Black Obelisk 3.Sanchi torana 1. Mari Marble frieze 2500 to 2400 BCE (Source: Louvre Museum https://www.louvre.fr/en/oeuvre-notices/frieze-mosaic-panel Related imageRelated image The hieroglyphs on the flagstaff carried by the priest are: karba 'stalk of millet' rebus; karba 'iron' PLUS khonda 'holcus sorghum' rebus: khoD 'alloy metal, wedge'; kã̄s ʼrein, whip' rebus:kã̄so ʻ bronze, pewter, white metal ʼPLUS khonda 'young bull' rebus: khoD 'alloy metal, wedge'; konda 'furnace' PLUS singhin 's[piny-horned' rebus: singi 'ornament gold'. 2. Shalamaneser III Black Obelisk: one of four friezes (859 to 824 BCE) Image result for mari procession priest unicorn marble friezeOne frieze on Shalamaneser III Black Obelisk of Nimrud.. Monkeys led as tribute offerings from the land of Musri The offerings are devji and ratni, monkey dressed as male; monkey dressed as female. Rebus readings are: देवजी or देवजीधसाडा dēvajī or dēvajīdhasāḍā or ड्या m A name given to the male monkey (in monkey-sports) which is accoutred as a man. The female is termed रत्नी. Rebus readings:(Probably) देवधूप dēvadhūpa m (S) A fragrant resin used in incense, Bdellium.AND रत्निन् possessing or receiving gifts RV. रत्न a gift , present , goods , wealth , riches RV. AV. S3Br.a jewel , gem , treasure , precious stone (the nine jewel are pearl , ruby , topaz , diamond , emerald , lapis lazuli , coral , sapphire , गोमेद ; hence रत्न is a N. for the number 9 ; but accord. to some 14) Mn. MBh. &c 3. Sanchi torana (2nd cent. BCE) aya 'fish' PLUS dAma 'rope, tied' rebus: ayodhamma 'Arya dharma' Hieroglyphs read rebus in Meluhha: silpi 'mollusc' rebus: s'ilpin 'architect' PLUS aya 'fish' rebus; aya 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin, mint'. tAmarasa 'lotus' rebus: tAmra 'copper'. PLUS karNika 'percarp of lotus' rebus: karNika 'helmsman, karana 'scribe'. Thus, together, ayo kammata (attested in Mahavamsa). Thus,the entrance message on the doorway of Sanchi proclaims an alloy metal, copper mint. "In Classical architecture an architrave (/ˈɑːrkɪtreɪv/; from Italian: architrave "chief beam", also called an epistyle; from Greek ἐπίστυλον epistylon "door frame") is the lintel or beam that rests on the capitals of the columns.The term can also apply to all sides, including the vertical members, of a frame with mouldings around a door or window. The word "architrave" is also used to refer more generally to a style of mouldings (or other elements) framing the top of a door, window or other rectangular opening, where the horizontal "head" casing extends across the tops of the vertical side casings where the elements join (forming a butt joint, as opposed to a miter joint)." (Ching, Francis D.K. (1995). A Visual Dictionary of Architecture. New York: John Wiley & Sons, Inc. pp. 179, 186) "In mathematics, a frieze or frieze pattern is a design on a two-dimensional surface that is repetitive in one direction. Such patterns occur frequently in architecture and decorative art. A frieze group is the set of symmetries of a frieze pattern, specifically the set of isometries of the pattern, that is geometric transformations built from rigid motions and reflections that preserve the pattern. The mathematical study of frieze patterns reveals that they can be classified into seven types according to their symmetries." (Coxeter, H. S. M. (1969). Introduction to Geometry. New York: John Wiley & Sons. pp. 47–49. loc.cit. https://en.wikipedia.org/wiki/Frieze\_group) -- Ancient Indian friezes are architectural niches or architraves, போதிகை pōtikai with Indus Script pottige, 'books' Hieroglyphs on ancient Indian architraves or friezes sippi 'mollusc' rebus: sippi 'architect' pōtikai 'capital of a pillar, stake' rebus: pottage, pottige 'book' *pōstaka ʻ book ʼ. [pusta -- m.n., ˚tā -- f. ʻ book ʼ VarBr̥S., ˚taka -- m.n., ˚tikā -- f. Hariv. -- ← Ir., e.g. Sogd. pwstk ʻ book ʼ ~ Pers. pōst ʻ skin ʼ (< OPers. pavastā -- → pavásta -- : see also *pōstikā -- ) EWA ii 319 with lit.] Pa. potthaka -- m. ʻ book ʼ, Pk. puttha -- , ˚thaya -- n., ˚thiyā -- f., K. pūthi, dat. pōthĕ f.; S. pothu m. ʻ large book ʼ, ˚thī f. ʻ smaller do. ʼ, P. po(t)thā m., ˚thī f., Ku. pothī f., N. pothi, A. puthi, B. pothā, ˚thi, puthi, pũthi, Or. pothā, ˚thi, puthi, Mth. pothā, ˚thī, Bhoj. pōthī, Aw.lakh. H. pothā m., ˚thī f., G. pothũ n., ˚thī f., M. pothī f., Si. pota.*paustaka -- .Addenda: *pōstaka -- : WPah.kṭg. pótthi f. ʻ (small) book ʼ, pótthu m. ʻ small book ʼ, J. pothī f., Garh. pōthī, Md. fot.(CDIAL 8413) *paustaka ʻ keeper of books ʼ. [*pōstaka -- ]Si. pota ʻ keeper of books ʼ SigGr ii 449?(CDIAL 8427) पुस् pus पुस् 1 U. (पोसयति-ते) 1 To rub. पुस्त् pust पुस्त् 1 U. (पुस्तयति-ते) 1 To bind, tie. पुस्तम् pustam पुस्तम् 1 Plastering, painting, anointing. -2 Working in clay, modelling. -3 Anything made of clay, wood or metal. -4 A book, manuscript; also पुस्ता-स्ती. -Comp. -कर्मन् n. plastering, painting. -पालः Keeper of land records; EI.XV.13;XX.61.पुस्तकः कम् pustakḥ kam पुस्तकः कम् 1 A book, manuscript. -2 A protuberant ornament, boss. -आगारम् a library. -आस्तरणम् The wrapper of a manuscript; Hch. -मुद्रा a kind of mudrā mentioned in Tantraśāstra; वाममुष्टिं स्वाभिमुखीं कृत्वा पुस्तकमुद्रिका. -पुस्तिकापूलिकः a collection of manu- scripts; Hch.3.(Apte) tAmarasa 'lotus' rebus: tAmra 'copper' In Ancient Indian architectural tradition, architraves or friezes போதிகை pōtikai -- convey messages through Indus Script hieroglyphs inscribed on them. Thus, they constitute போதிகை pōtikai rebus: pottage, pottige 'books'. Ta. pōtikai capital of a pillar, stake. Ma. pōtika capital of a pillar, prop, support of a king-post. Ka. bōdige, bōduge capital of a pillar. Koḍ. po·ti niche over a door. Tu. bōdigè id., architrave. Te. bōdiya, bōde trunk of a tree, cornice (DEDR 4585) போதிகை pōtikai , n. [T. bodhia, K. bōdiga.] See போதிகைக்கட்டை. போதிகைத் தலத்து (கம்பரா. நகரப். 25). போதிகைக்கட்டை pōtikai-k-kaṭṭai , n. < போதிகை +. 1. Capital of a pillar; cap of a wooden post; தூண்மேல் வைக்கும் தாங்குகட்டை. 2. Stake; குறுந்தறி. (பிங்.) போதிகைத்தூண் pōtikai-t-tūṇ , n. < id. +. A short, stout pillar; குறுந்தூண். (யாழ். அக.) போதிகை pōtikai is a frieze. "In architecture, the frieze /friːz/ is the wide central section part of an entablature and may be plain in the Ionic or Doric order, or decorated with bas-reliefs. Paterae are also usually used to decorate friezes. Even when neither columns nor pilasters are expressed, on an astylar wall it lies upon the architrave ("main beam") and is capped by the moldings of the cornice. A frieze can be found on many Greek and Roman buildings, the Parthenon Frieze being the most famous, and perhaps the most elaborate. This style is typical for the Persians." https://en.wikipedia.org/wiki/Frieze Sankissa elephant abacus detail.jpg Frieze of the Sankissa elephant, 3rd BCE Elephant capital Sankasya.jpgSankissa pillar Rampurva bull capital, detail of the abacus, with two "flame palmettes" framing a lotus surrounded by small rosette flowers, 3rd BCE Rampurva bull in Presidential Palace high closeup.jpgRampurva capital Frieze of the lost capital of the Allahabad pillar, with two lotuses framing a "flame palmette" surrounded by small rosette flowers, 3rd BCE Frieze of the lost capital of the Allahabad pillar, with two lotuses framing a "flame palmette" surrounded by small rosette flowers. Bodhi1 (f.) [fr. budh, cp. Vedic bodhin -- manas having an attentive mind; RV v.75, 5; viii.82, 18] (supreme) knowledge, enlightenment, the knowledge possessed by a Buddha Rampurva copper bolt of Aśoka pillar, has Indus Script hypertexts signify metalwork catalogue, पोळ pōḷa 'zebu, bos indicus' rebus 'magnetite, ferrite ore', पोलाद pōlāda, 'crucible steel cake' https://tinyurl.com/y9dgckgl
VEGETAL MOTIFS IN ANCIENT INDIAN IMAGERY-WITH SPECIAL REFERENCE FROM HARAPPA TOSANCHI
Nature always attracted all of us. Artists and poets being especially sensitized and absorbed by it have created beautiful forms of designs inspired by nature since the antiquity.In this research, I have tried to find out the origin of vegetal motifs. What had been the situations which triggered early artists to " recreate " natural forms in various mediums, forms, and techniques? Since this is anabundantarea to be taken for research, I tried to focus upon art practices within the Indian subcontinent only;right from Harappan culture which is the oldest urban civilization of the world to the age of Vedas; from the rise of Buddhism and Jainism to the mighty Mauryans, Satvahanas to the great Stupa of Sanchi. This research proves that vegetal motifs developed from simple organic forms to stylized motifs in the early phase of Indian art. May be this analytical research prepares a prolific ground for further researches that can be undertaken consecutively.
A series dhōraṇi adorns Bharhut stupa toraṇa: sangi 'mollusc', sangi 'pilgrim'; sippi 'mollusc', śilpin, sippi 'artificer'. The architraves of Bharhut and Sanchi stupas in the tradition of the Begram ivory plaque are adorned with a series of hieroglyphs. This is a demonstration of the continuum of deployment of Indus Script cipher (rebus-metonymy-layerd-cipher in Meluhha) to signify the plain text, deciphered message. sanga 'priest, chief administrator of a temple'; dumu sanga 'son of priest' (Sumerian)(Gelb, Ignace J., Household and family in early Mesopotamia, in: Edward Lipinski ed., State and temple economy in the ancient Near East: proceedings of the International Conference, 1979, Peeters Publishers, pp. 1-8) Meluhha hieroglyph: sangi 'mollusc', Rebus: sangi 'pilgrim'. The gloss signified on Begram ivory plaque, Bharhut&Sanchi Toraṇa, thus dates back to 3rd millennium BCE with Meluhha presence attested in settlements in Sumer-Mesopotamia. This is an artistic style which is evidenced by a Begram ivory plaque of ca. 3rd century BCE. It is known that the ivory makers of Vidisa were the sculptors of the exquisite sculptural artifacts in Sanchi Stupa monument. Sculptors in this lineage are likely to have been the creators of the Bharhut Stupa monument and also artifacts of Mathura and Kankali-Tila with commonly-shared repertoire of orthographic motifs as powerful messaging systems for glosses of Indian sprachbund. Hieroglyph on a Begram ivory plaque: a pair of molluscs tied with a chisel Hieroglyph: śaṅkula 'chisel' Rebus: sangin 'shell-cutter'. sangi 'mollusc' Rebus: sangi 'pilgrim'. Dama 'cord, tying' Rebus: dhamma 'moral conduct, religious merit'. A variant ties a fish with the hieroglyph complex: ayira, ayila 'fish' Rebus: ayira, ariya 'noble conduct'. Thus connoting ariya-dhama, ayira-dhamma; ariya-sangha, ayira-sangha (Pali). It should be underscored that the creators of these hieroglyphs were Meluhha speakers from Indian sprachbund (speech-union) and created the unique writing system deploying rebus-metonymy-layered cipher. Thus, the continued use of hieroglyphs in the early centuries of the common era are a validation of the Indus Script technique of writing. Though kharoshthi and brahmi script was used TOGETHER WITH these Meluhha hieroglyphs, the two scripts were used principally to write names or appellations using a Prakritam syllabary, the hieroglyphs continued to be used for conveying substantive adhyatmika and metalwork messages signifying life-activities of the artisans and their guilds. Women standing under a Toraṇa. Begram Ivory Plaque which is a prototype for Bharhut-Sanchi Stupa Toraṇa Hackin 1954, p.169, figs.18 Ivory? Size: 10.6 x 15.8 x 0.4 cm Begram rectangular plaque depicting three palmettos with curled-up ends, held together by rings made up of lotus petals. Between the palmettos elongated fruit is shown . This scene is bordered by a band depicting a series of four-leaved flowers set in a square frame. In this hieroglyhphic multiplex, there are three distinct orthographic components: Mollusc 1. mollusc (snail) pair depicted by a pair of antithetical S curved lines: sã̄khī Rebus: sã̄kh ʻconch-shell-cutterʼ Palmetto or Spathe 2. spathe of a palm or palmetto: sippī f. ʻspathe of date palmʼ Rebus: sippi 'artificer, craftsman'. It could also be seen as a chisel:śaṅkula Rebus: sangin 'shell-cutter'. Tied together, cord 3. a thread or cord that ties the mollusc pair and spath in the centre together into a composite orthographic unit. dām ʻropeʼ Rebus: dhamma 'dharma' dham̄a ʻemployment in the royal administrationʼ. http://bharatkalyan97.blogspot.in/2015/06/deciphering-indus-script-meluhha.html Buddhist tympanum, from Mathura, Uttar Pradesh ca. second quarter of 1st cent. CE. Red sandstone: H.30in. W.20 in. Museum of Fine Arts, Boston (After Fig. 284 and 285 in: Sonya Rhie Quintanilla, 2007, History of early stone sculpture at Mathura, ca. 150 BCE - 100 CE, BRILL.) The Meluhha gloss which signifies the series is: ధోరణి [ dhōraṇi ] dhōraṇi. [Skt.] n. A series, line, range; వరుస. A way, style, tradition. పద్ధతి dhorani [ dhoranî ] f. uninterrupted series (Samskritam) The semantics of this gloss is demonstrated by a series of hieroglyphs on the Begram ivory plaque and on Bharhut and Sanchi Stupa Toranas (Architraves on gateways). See also: దోరణ [ dōraṇa ] or దోరణము Same as తోరణము. (q. v.) దోరపాక or ఓరపాక a shed with a pent roof. (Telugu) Sanchi Stupa. Northern Gateway Toraṇa, 'row of hieroglyphs on the top architrave. The centre-piece is a spoked wheel carried by a troop of elephants: Signified: gait of elephants: tōraṇa, dhōraṇa. An expression denoted thus is: dhammachakam dhōraṇa 'Gait of Wheel of Law, moral conduct: dhamma, dharma'. Flowers topped by Srivatsa are displayed on either end in the hieroglyph series or line: pūsa 'flower' (Prakritam) Rebus: pūja 'worship, veneration' signifying the nature of the precinct: temple. This semantics is reinforced by the fish-tails in a hieroglyph multiplex: xolA 'tail' Rebus: kole.l 'smithy, temple'. The components of hieroglyph multiplex include: karNika 'pericarp of lotus' Rebus: karNIka 'scribe'; sangin 'mollusc' PLUS sankula 'chisel' Rebus: sangi 'pilgrim'; sangha 'guild'. This multiplex is shown next to the architect: शङ्कुः śaṅkuḥ 'measuring rod' carried on the shoulder by the architect. tvaṣṭṛ (Rigveda), துவட்டர் tuvaṭṭar , n. < tvaṣṭṛ. Artificers, smiths. The semantics of artifer is reinforced by the 'mollusc' hieroglyph: Ta. ippi pearl-oyster, shell; cippi shell, shellfish, coconut shell for measuring out curds. Ma. ippi, cippi oyster shell. Ka. cippu, sippu, cimpi, cimpe, simpi, simpu, simpe oyster shell, mussel, cockle, a portion of the shell of a coconut, skull, a pearl oyster; (Gowda) cippi coconut shell. Tu. cippi coconut shell, oyster shell, pearl; tippi, sippi coconut shell. Te. cippa a shell; (kobbari co) coconut shell; (mōkāli co) knee-pan, patella; (tala co) skull; (muttepu co) mother-of-pearl. Go. (Ma.) ipi shell, conch (Voc. 174). / Cf. Turner, CDIAL, no. 13417, *sippī-; Pali sippī- pearl oyster, Pkt. sippī- id., etc. (DEDR 2535). Rebus: śilpin ʻ skilled in art ʼ, m. ʻ artificer ʼ Gaut., śilpika<-> ʻ skilled ʼ MBh. [śílpa -- ] Pa. sippika -- m. ʻ craftsman ʼ, NiDoc. śilpiǵa, Pk. sippi -- , °ia -- m.; A. xipini ʻ woman clever at spinning and weaving ʼ; OAw. sīpī m. ʻ artizan ʼ; M. śĩpī m. ʻ a caste of tailors ʼ; Si. sipi -- yā ʻ craftsman ʼ.(CDIAL 12471) சிற்பியர். (சூடா.) சிற்பம்¹ ciṟpam , n. < šilpa. 1. Artistic skill; தொழிலின் திறமை. செருக்கயல் சிற்பமாக (சீவக. 2716). 2. Fine or artistic workmanship; நுட்பமான தொழில். சிற்பந் திகழ்தரு திண்மதில் (திருக்கோ. 305). சிற்பர் ciṟpar , n. < šilpa. Mechanics, artisans, stone-cutters; சிற்பிகள். (W.)சிற்பி ciṟpi, n. < šilpin. Mechanic, artisan, stone-cutter; கம்மியன். (சூடா.)சிற்பியல் ciṟpiyal , n. < சிற்பம்¹ + இயல். Architecture, as an art; சிற்பசாஸ்திரம். மாசில் கம் மத்துச் சிற்பியற் புலவர் (பெருங். இலாவாண. 4, 50). Signifier hieroglyphs: Elephant gait, elephant-driver (mahout): தோரணம்³ tōraṇam , n. < dhōraṇa. Gait of an elephant in which it places its hind foot in the track of its forefoot; முன்காலை வைத்த சுவட்டிடத்தே பின்காலை வைத்து நடக்கும் யானைக்கதி. முன்ன ரூன்றிய காற்குறி தன்னிற், பின்னர்ப்பத மிடுவது தோரண மென்ப (பன்னிருபா. 276). தோரணன் tōraṇaṉ , n. < ā-dhōraṇa. Elephant driver; யானைப்பாகன். (நாமதீப. 167.) தோரணகம்பம் tōraṇa-kampam , n. < id. +. 1. Posts at the entrance, as of a temple surmounted by an arch; கோயில் முதலிய வற்றின் முன்வாயிலில் அலங்காரவளைவைத் தாங்கிநிற் குந் தம்பம். தோரண கம்பத்தெஞ் ஞான்றும் வீற்றிருக் கும் பெருமானை (தணிகைப்பு. காப்பு. 2).தோரணம்¹ tōraṇam, n. < tōraṇa. 1. Festoons of leaves and flowers suspended across streets and entrances on auspicious occasions; தெருவிற் குறுக்காகக் கட்டும் அலங்காரத் தொங்கல். புரமெங்குந் தோரணநாட்டக் கனாக்கண் டேன் (திவ். நாய்ச். 6, 1). 2. Ornamented gateway surmounted with an arch; அலங்கார வளைவுள்ள வாயில். தோரணத்தி னும்பரிருந்ததோர் நீதியானை (கம்பரா. அட்ச. 21). 3. Mound raised near a bathing place for a mark; நீராடுமிடத்திற் கட்டும் வரம்பு. (W.) தோரணவாசல் tōraṇa-vācal, n. < தோர ணம்¹ +. See தோரணவாயில். தோரணவாயில் tōraṇa-vāyil , n. < id. +. See தோரணம்¹, 2. (சிலப். 5, 104.) கொடித் தோன் றுந் தோரணவாயில் காப்பானே (திவ். திருப்பா. 16). தோரணவீதி tōraṇa-vīti , n. < id. +. Streets decorated with festoons; தோரணங்களால் அலங்கரிக்கப்பட்ட தெரு. தோரண வீதியுந் தோமறு கோட்டியும் (மணி. 1, 43). Signified object: tōraṇa n. ʻ arched or festooned doorway ʼ MBh., ʻ triangle supporting a large balance ʼ ŚivaP. Pa. tōraṇa -- n. ʻ arched doorway ʼ; Pk. tōraṇa -- n. ʻ outer door, gate ʼ; M. torṇẽ n. ʻ that part of a waterwheel on which rests the fore -- extremity of the beam and under which the bullock moves ʼ; Si. toraṇa ʻ arched gateway ʼ.(CDIAL 5976)
This monograph demonstrates that the characteristic sculptural tradition of Makara toraṇa evidenced on hundreds of heritage monuments of Eurasia, is an abiding tradition traceable to Sarasvati_Sindhu Civilization writing tradition of Indus Script Corpora. This monograph also establishes that the engraver tradition of Indus Script instituted by metalwork artisans of the Bronze Age civilization continues in the stone sculptural traditions, for millennia, all over Ancient Bhāratam, and in the Ancient Far East. A possible etymological framework to explain the expression, makara, a composite animal artistic expression comes from Meluhha words cognate with: ध्म, 'blow' धम, धमक dhmākārḥ ध्माकारः A blacksmith, smith dhamakḥ धमकः, धमकर > मकर 'blacksmith blowing the forge'. See Annex A: semantic structures which evolved over time, from the expression ध्माकारः Annex B: కారుమొసలి a wild crocodile or alligator. కారువు kāruvu [Skt.] n. An artist, artificer. శిల్పి hypertexts of Indus Script Corpora There are two sememes in the expression ध्माकारः -- ध्म, 'blow' and कारः 'smith'. In artistic sculptural expressions and in ancient Meluhha cipher (Mlecchita vikalpa) writing system, the two phonemes are signified as two hieroglyphs: dāmā 'rope, garland'. As a semantic determinative the 'fin of fish' hieroglyph is added to kāru 'a wild crocodile or alligator' (Telugu) to signify that ayakara, 'blacksmith' works with alloy metal in a mint: ayo 'fish' rebus: aya 'iron', ayas 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage'. To further semantically reinforce working wit metals, feet of elephant are ligatured: karibha, ibha 'elephant' rebus: karba, ib 'iron' ibbo 'merchant'. Sometimes the feet are signified by feline paws providing for the hieroglyph of kola 'tiger' rebus: kol 'working in iron', 'backsmith', kolhe 'smelter'. The entire Ganga Basin was settled with Bhāratam Janam, 'metalcaster folk' and hence Ganga River is personified in an artistic expression, as a rider on a makara, ध्मकर, मकर 'blacksmith blowing the forge'. ध्मकर, मकर damgar 'merchant', ṭhākur ʻblacksmithʼ. Begram ivory, 2nd cent. BCE http://museum.wa.gov.au/museums/perth/afghanistan-hidden-treasures/exhibition-highlights Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From Besnagar, Bhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States. Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884 Ma Ganga, standing on the makara (crocodile/dragon thing) that is her animal vehicle. The image is at least 8 feet tall, and is located on the facade of cave 21Ellora, Maharashtra. http://personal.carthage.edu/jlochtefeld/picturepages/ElloraHindu2011/ellora3.html Ganga on Makara.5th cent. CE. Ajanta caves. Gupta era terracotta of Ma Ganga. Ahichchhatra, UP - now in the National Museum, New Delhi, India Makara. Amaravati. The artisan emerges out of the snout of the makara. Fragment in the shape of Asura rising up from the mouth of Makara water monster, carved sandstone, 10th-11th century CE. Quang Nam province, central Vietnam. Decoration exterior of roof corner of Cham temple. Northern Qi dynasty, ca. 550 CE (Exhibitd at National Gallery of Victoriain Melbourne, Australia) Makara with elephant trunk (Exhibited in Indian Museum, Kolkata) Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga. Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile') The makara sculptures which adorn many temples is a hieroglyph multiplex of elephant, crocodile, fish: ibha 'elephant' rebus: ib 'iron'; mahAkara, karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri); aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda). It is a hieroglyphic celebration of metalwork as the exemplar of creativity which is the quintessence of the temple-smithy: kole.l puccha 'fish tail' Rebus: puja 'worship'. xolA 'tail' Rebus: kole.l 'smithy, temple' kol 'working in iron' kolimi 'smithy, forge'. Makara on lentil of sambor prei kuk temple, Cambodia Fragment of a makara capitalAllahabad Museum, Allahabad"The four hands of the God are damaged so that none of the attributes can be seen. On top, just above the crown, is an image of Yogasana Visnu with the fish and turtle avataras and Maladharadevas on either side. The pilasters flanking the god support niches with images of Brahma and Siva to his right and left respectively; and at their base are female and male attendant figures in front of whom are small seated figures of Buddha and Kalki on a horse. The offset to the right has, from top to bottom, a small figure of Varaha, a makara, a vyala motif, a large figure of Rama holding a bow, and a seated figure of Vamana. Similarly, to the godâ??s left, we have a mutilated image of Narasimha, and at the base the serpent hooded Balarama leaning on a club in front of whom is a seated image of Parasurama. The central projection of the pancaratha pedestal carries a male and female figure in anjalimudra at the sides." http://nmma.nic.in/nmma/antiquity\_search.do?method=explore\_antiquity\_search&id\_link\_mat=22&?w=&pager.offset=2300 Entrance. Puri Jagannath temple. 1890 photo .Ganga on makara on the pillar at the entrance. http://inspirationtheory.blogspot.in/2011/03/very-old-photographsdrawings-and.html Photograph of a statue of Ganga in the Jagannatha Temple at Puri, from the Archaeological Survey of India Collections, taken by Poorno Chander Mukherji in the 1890s. The temple was founded in the 12th Century by Anantavarman Chodaganga (r.1077-1147) of the Eastern Ganga dynasty. http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/s/019pho000001003u00384000.html Ganga, right, the deified Ganges River, in terracotta on a door pillar from U.P., India, Pratihara, 10th century CE. Following iconographic prescription, Ganga stands on her mount, the Makara, a stylized mythological crocodile-like aquatic monster (which unfortunately has been damaged in this piece) and (likely) holds a kumbha, a full pot of water, in her hand (which too has been damaged), while an attendant holds a parasol over her. She leans in the tribhanga pose on a dwarf attendent, while a male guard (or consort?) stands nearby. The dimensions of the art-work are: height: 63 cm (25 in), width: 39 cm (15 in), depth: 26 cm (10 in). From the National Museum of India, New Delhi. The hieroglyphs or metaphors which adorn the toraṇa and the temple precincts are a declaration of the smithy as temple for dharma-dhamma. The semantics of the temple architecture are a re-affirmation of the message of good work, of virtuous conduct, sanatana dharma-dhamma. The hieroglyph multiplex of crocodile, elephant, tiger, fish is celebrated as mahAkara, makara and makara toraṇa as a sculptural metaphor is explained in the context of veneration of Ganga as Ma Ganga, mother Ganga. This association of the Gavialis gangeticus – gharial with River Ganga is related to the life-activity of the people of the Gangetic plain as Bharatam Janam, metalcaster folk working with iron. This has been attested archaeologically by the discovery of iron smelters and iron work at Malhar, Raja-nal-ki-tila and Lohardiwa on the Ganga River basin. See: http://archaeologyonline.net/artifacts/iron-ore Map showing locations of the Early Iron Age sites in the Central Ganga Plain, the Eastern Vindhyas, and different regions of India. Damaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli. This correlation explains the veneration of Ma Ganga by Bharatam Janam which finds expression in the association of makara hieroglyph complex with the life-activities in Ganga River basin of the metalcasters. Hieroglyph: dāmā 'rope, garland' (Hindi) Rebus: dhamma 'virtious conduct, dharma' Rebus: ध्मकर, मकर 'blacksmith blowing the forge'
117 antelope; sun motifHieroglyph: arka 'sun' Rebus: arka 'copper' (Kannada) eraka 'moltencast copper'(Tulu) அருக்கம்¹ arukkam, n. < arka. (நாநார்த்த.) 1. Copper; செம்பு. (Tamil) అగసాలి (p. 0023) [ agasāli ] or అగసాలెవాడు agasāli. [Tel.] n. A goldsmith. కంసాలివాడు.(Telugu) Kannada (Kittel lexicon): Hieroglyph: करडूं or करडें (p. 137) [ karaḍū or ṅkaraḍēṃ ] n A kid. कराडूं (p. 137) [ karāḍūṃ ] n (Commonly करडूं) A kid. (Marathi) Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c. (Marathi) G. karãḍɔ m. ʻ wicker or metal box ʼ,(CDIAL 2792) Allograph: Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.Tir. mar -- kaṇḍḗ ʻ back (of the body) ʼS. kaṇḍo m. ʻ back ʼ, L. kaṇḍ f.,kaṇḍā m. ʻ backbone ʼ, awāṇ. kaṇḍ, °ḍī ʻ back ʼ; P. kaṇḍ f. ʻ back, pubes ʼ(CDIAL 2670) Hieroglyph: mlekh 'goat' Rebus: milakkhu 'copper' mleccha 'copper' Hieroglyph: करडूं or करडें (p. 137) [ karaḍū or ṅkaraḍēṃ ] n A kid. कराडूं (p. 137) [ karāḍūṃ ] n (Commonly करडूं) A kid. (Marathi) Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c. (Marathi) G. karãḍɔ m. ʻ wicker or metal box ʼ,(CDIAL 2792) Allograph: Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.Tir. mar -- kaṇḍḗ ʻ back (of the body) ʼS. kaṇḍo m. ʻ back ʼ, L. kaṇḍ f.,kaṇḍā m. ʻ backbone ʼ, awāṇ. kaṇḍ, °ḍī ʻ back ʼ; P. kaṇḍ f. ʻ back, pubes ʼ(CDIAL 2670) Hieroglyph: mlekh 'goat' Rebus: milakkhu 'copper' mleccha 'copper' The mleccha words of metalwork were written down using 500 pictographs such as a bull (barad), zebu (khunt), elephant (ibha), tiger (kol), boar (badhi), rim of jar (kand kanka), rimless pot (bata), tree (kuti), crocodile (kara), fish (aya). These pictographs were chosen because the words which signified the bull, zebu etc. had similar sounding words which indicated metal alloy of zinc, tin, copper (barado, bharata), unsmelted metal (kund), iron (ib), smelter (kol), worker in wood and metal (badhi), furnace account (kand kanka), furnace (bata), smelter-furnace (kuti), smith (khar), metal-alloy (aya). The artisans of the civilization who have left behind these inscriptions of metalware catalogs also had perfected a metallurgical technique called lost-wax casting. An example of the lost-wax casting technique to create a bronze statue is that of the dancing-girl statue discovered in Mohenjo-daro. This statue was made first in wax. The wax image was covered with fine clay taken from the river-bed and the clay covering layer was allowed to dry. This left an impression on the clay covering layer. When molten metal of bronze (copper plus tin alloy) was poured into the clay covering layer, the wax image melted and drained out leaving this metal statue, as the molten metal cooled down. Such artisans specializing in the lost-wax method of metal casting were called dhokra (Mleccha language). There are inscriptions found in Mohenjo-daro and Dholavira cataloguing the name metalsmith’s name, dhokra (The name was indicated by depiction of a pictograph of an old, decrepit woman who was also called dhokra).
Bharhut, Besnagar sculptural Makara hieroglyphs ayo kammaṭa 'iron mint' -- expression used in Mahavams'a validates Indus Script proclamation Two pillars with capitals of Besnagar (ca. 2nd cent.BCE) signify two proclamations of services offered in the city workshop complex: ayo 'fish' rebus:" aya 'metal, iron' PLUS khambhaṛā 'fin' rebus: kammaTa 'mint'; hence, ayo kammaTa 'iron mint' and kāraṇikā 'pericarp of lotus' rebus: karaṇī 'scribe, supercargo'. Supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale. Hieroglyphs as hypertexts on the two capitals: Capitl 1: kolom 'three' rebus: kolimi 'smithy' kāraṇikā 'pericarp of lotus' rebus: karaṇī 'scribe, supercargo', kañi-āra 'helmsman'. capital 2: ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā 'fin' rebus: kammaTa 'mint, coiner, coinage' PLUS karA 'crocodile' rebus: khAr 'blacksmith'. kambha 'pillar' rebus: kammaṭa 'mint, coiner, coinage' as a semantic determinative. Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) kammaTa is also a Pali word with the same meaning, attested by Mahavams'a. Thus, these two pillars with hieroglyph hypertexts in Indus Script tradition, are two proclamations of services provided by artificers at the workshops of Besnagar. Confirmation for this decipherment is provided by Mahaavams'a, XXV, 28, which uses an expression: ayo-kammata-dvAra, translated as "iron studded gate" (of a city), but more accurately should translate as: iron mint gate. [quote]Ayas: not in the Dictionary. This word is always used for iron (see loha, below). Mahavamsa, XXV, 28, ayo-kammata-dvara, "iron studded gate " (of a city) ; ib., 30, ayo-gulath, " iron balls "; ib., XXIX, 8, ayo-jala, an iron trellis used in the foundations of a stfipa. Reference might have been made to the iron pillars at Delhi and Dhar, and the use of iron in building at Konarak. [unquote] (Ananda K. Coomaraswamy, Indian Architectural terms, in: American Oriental Society, Vol. 48, 1928, pp.250-275). A hieroglyph which signifies kambha 'pillar' is kambha 'wing'. Thus, the sculptural frieze with winged tigers can be read rebus: kola 'tiger' rebus: kol 'working in iron' PLUS kambha 'wing' rebus: khambha 'pillar'. kolom 'three' rebus: kolimi 'smithy, forge'. Thus, ironworker smithy pillar The winged tiger hieroglyphs: khambha 'wing' rebus: kammaTa 'mint, coiner, coinage' kola 'tiger' rebus: kol 'working in iron'. Thus, iron mint. The tw garlands surmounded below the parasol and above the spokedwheel signify: dAma 'garland' rebus: dhAu 'mineral'. Lakshmi flankedby two elephants signifies medhA 'dhanam, wealth.' The word also means 'Sarasvati'. The lotuses are: tAmarasa rebus: tAmra 'copper'. Hieroglyph: *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu, °bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: skambhá1 m. ʻ prop, pillar ʼ RV. 2. ʻ *pit ʼ (semant. cf. kūˊpa -- 1). [√skambh]1. Pa. khambha -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ; Pr. iškyöp, üšköb ʻ bridge ʼ NTS xv 251; L. (Ju.) khabbā m., mult. khambbā m. ʻ stake forming fulcrum for oar ʼ; P. khambh,khambhā, khammhā m. ʻ wooden prop, post ʼ; WPah.bhal. kham m. ʻ a part of the yoke of a plough ʼ, (Joshi) khāmbā m. ʻ beam, pier ʼ; Ku. khāmo ʻ a support ʼ, gng. khām ʻ pillar (of wood or bricks) ʼ; N. khã̄bo ʻ pillar, post ʼ, B. khām, khāmbā; Or. khamba ʻ post, stake ʼ; Bi. khāmā ʻ post of brick -- crushing machine ʼ, khāmhī ʻ support of betel -- cage roof ʼ, khamhiyā ʻ wooden pillar supporting roof ʼ; Mth. khāmh, khāmhī ʻ pillar, post ʼ, khamhā ʻ rudder -- post ʼ; Bhoj. khambhā ʻ pillar ʼ, khambhiyā ʻ prop ʼ; OAw. khāṁbhe m. pl. ʻ pillars ʼ, lakh. khambhā; H. khām m. ʻ post, pillar, mast ʼ, khambh f. ʻ pillar, pole ʼ; G. khām m. ʻ pillar ʼ, khã̄bhi, °bi f. ʻ post ʼ, M. khã̄b m., Ko. khāmbho, °bo, Si. kap (< *kab); -- X gambhīra -- , sthāṇú -- , sthūˊṇā -- qq.v.2. K. khambürü f. ʻ hollow left in a heap of grain when some is removed ʼ; Or. khamā ʻ long pit, hole in the earth ʼ, khamiā ʻ small hole ʼ; Marw. khã̄baṛo ʻ hole ʼ; G. khã̄bhũ n. ʻ pit for sweepings and manure ʼ.*skambhaghara -- , *skambhākara -- , *skambhāgāra -- , *skambhadaṇḍa -- ; *dvāraskambha -- .Addenda: skambhá -- 1: Garh. khambu ʻ pillar ʼ.(CDIAL 13639) Kashmiri glosses: khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji or -güjü - लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü लोहकारकन्या f. a blacksmith's daughter. -koṭu - लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 - लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wānवान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil. Thus, kharvaṭ may refer to an anvil. Meluhha kāru may refer to a crocodile; this rebus reading of the hieroglyph is.consistent with ayakāra ‘ironsmith’ (Pali) [fish = aya (G.); crocodile = kāru (Telugu)] http://bharatkalyan97.blogspot.in/2014/01/meluhha-hieroglyphs-snarling-iron-of.html See: http://bharatkalyan97.blogspot.in/2015/06/itihasa-of-bharatam-janam-makara-manda.html Medallion. Bharhut. Joined animal parts: fish, fish-fin, elephant trunk & legs, crocodile (All the hieroglyphs signify metalwork catalogues; see discussions in this monograph). karNa 'ear' rebus: karNI 'supercargo' dala 'leaf' rebus: dhALa 'large ingot'. See: http://www.photodharma.net/Guests/Kawasaki-Bharhut/Bharhut.htm Begram ivory. Artificer emerging out of the mouths of a pair of makara. Makara with fish-tails and emergence of a smith, ivory-carver, artificer. Plaque from Casket V. Begram. Site 2, Chamber 10. Ivory. Inv. no.: MG 1901. Makara, eagle panel. Begram. Site 2, Chamber 13. Ivory. Inv. nos.: MA 209, 210.Musee Guimet. Th winged bird emerging out of the mouths of makara: eruvai 'eagle' rebus: eruvai 'copper'. http://bharatkalyan97.blogspot.in/2015/06/itihasa-of-bharatam-janam-makara-manda.html Bharhut Bharhut Sanchi Sanchi Bharhut The artificer emerges out of the snout of the makara. Fragment in the shape of Asura rising up from the mouth of Makara water monster, carved sandstone, 10th-11th century CE. Quang Nam province, central Vietnam. Decoration exterior of roof corner of Cham temple. Fragment of a Makara Capital Allahabad Museum, Allahabad Kaushambi, Uttar Pradesh. C.2nd Century BCE Shunga Dimensions: 00105 (1), 00105 (2) "The animal is damaged, but was originally endowed with only two front legs. The snout is broken; the open mouth, filled with saw teeth, is bordered by ridged lips. The eyes are bulging and have thick curling eyebrows. The finlike ears are adorned with pendants, each consisting of four strands of beads held together by a rectangular plaque. The flat modeling of the curled tail, the top and side surfaces of which meet almost at right angles, are strongly reminiscent of Bharhut sculpture of the 2nd century B.C. The makara probably crowned a votive column (dhvaja stambha) before a temple or site sacred to Pradyumna, one of the Pancavrsnis. An image of the same period has also been discovered at Besnagar, ancient Vidisa." http://museumsofindia.gov.in/repository/record/alh\_ald-AM-SCL-59-3541 This is makara-dhvaja. "Pradyumna (Sanskrit: प्रध्युम्न) is the name of a character in the Srimad Bhagavatam. He was the son of Lord Krishna andRukmini. Pradyumna is considered as one of the four vyuha avatar of Vishnu. According to some accounts, Pradyumna was an incarnation of Kama, the god of love. Pradyumna is also a name of the Hindu god Vishnu. He is one in 24 Keshava Namas (names), praised in all pujas. It is also the only name in Sanskrit with all the 3 letters joint (referred as जोडाक्षर) The Harivamsa describes intricate relationships between Krishna Vasudeva, Sankarsana, Pradyumna and Aniruddha that would later form a Vaishnava concept of primary quadrupled expansion, or avatar." https://en.wikipedia.org/wiki/Pradyumna