1995 - "The bhale symbol of the Jainas," in: Berliner Indologische Studien (BIS) 8, pp. 201-228
2018
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Abstract
It is customary to an Indian while writing down a text, religious or secular, to wish that the writing, the addresse, the reader and he himself be blessed by a sacred symbol or expression, or both, which he accordingly employs at the beginning of the tea. Ln North India, for example, the expressions used are, om, om d*, ir~-harih, Sri-$+ ha$^ furp~am, Sri-g~eSdya nmnah, etc. Some of the expressions used in Tamil Nadu are, om, mmgan tunail Sivan tunai,' etc. Until recently, a symbol was used in Bengal which was called Gji, and was pronounced as ory siddhih or om siddhir=amc. In Tamil Nadu the symbol used, is now calledpilCaiydr&Ci or "GweSa's curln, and the children are even today taught to draw it before they begin to learn the alphabet. In Gujarat this symbol is called bhde meaning perhaps "be blessedn and it is pronounced as such by the ~ainas.* This symbol invariably occurs at the beginning of the Jaina rnanuscripts from Gujarat and R a j~t h a n .~ But the earlier scholars who prepared the catalogues of the Jaina manuscripts had a great difficulty to follow the meaning of this symbol, and they therefore suggested a wrong interpretation of i t Sometime back I had the opportunity to go through the catalogue of the Jaina manuscripts from SW-bourg4 prepared by Chandrabhal Tripathi (TRIPATHI 1975), professor at the Free University of Berlin. I have selected a few items from his catalogue to show how the symbols were used at the beginning of a Jaina manuscript from the south Rajasthan and Gujarat areas.
Related papers
The principal design feature of Indus Script hieroglyphs or 'signs' in Corpora is the सांगड sāṅgaḍa, which is 'a hypertext orthograph formed of two or more components linked together'. Rebus: sangraha, sangaha 'catalogue, list' is applicable Thus, composite signs are orthographed to complete the cataloguing, listing process of wealth-accounting ledgers. Two unique modifiers occur as superscripts on two composite signs: Sign 51 and Sign327. The modifiers to the basic signs of 'scorpion'; and 'ficus leaf' respectively, may be called attachments which are like ears as superscripts. Read as -karaṇīya 'duty, business' related to bica 'scorpion' rebus: bica 'haematite, ferrite ore'. and loa 'ficus glomerata' rebus: loh 'copper'. Thus, the two signs are read as hypertexts:bica -karaṇīya and loh-karaṇīya meaning: 'haematite ore business and copper ore business'. lo 'iron', khār 'blacksmith', 'lohakāra 'coppersmith, ironsmith' (Pali) Sign 51 Sign 52 bica 'karaṇīya 'haematite, ferrite ore duty, business' PLUS koḍa 'one' rebus: kod 'workshop' That the orthography of Sign 51 relates to the scorpion's pointed sting is seen from a Mohenjo-daro seal m414. Hypertext variants on Sign list 123 above: Ma. kaṇ, kaṇṇu eye, nipple, star in peacock's tail, bud; Br. xan id., bud. (DEDR 1159) Rebus: Ta. kaṉ copper work, copper, workmanship; kaṉṉāṉ brazier. Ma. kannān id.(DEDR 1402) Hypertext variants on Sign list 124 above: loa 'ficus glomerata' rebus: loh 'copper, iron'; ḍato 'claws or pincers of crab' (Santali) rebus: dhatu 'ore' (Santali) The inscription on the seal starts with 'scorpion' hieroglyph on modern impression of seal M-414 from Mohenjo-daro. After CISI Variants of Sign 51 It is seen that in five of these variants of Sign 51, the focus is on the sharp pointed stinger of the scorpion. Examples of inscriptions where both the signs (and variants) occur are seals Harappa h598, :Lothal L-11: Examples clearly associate both 'scorpion' and 'ficus' imageries together on the adjacent segments of the two Harappa and Lothal inscriptions: Harappa inscription segment showing scorpion, ficus leaf Lothal inscription segment showing scorpion, ficus leaf. ḍato =claws of crab (Santali) Rebus: dhātu 'mineral ore'. kāru pincers, tongs. Rebus: khār खार् 'blacksmith' (Kashmiri). The first composite sign reads rebus: dula pair' rebus: dul 'metal casting' PLUS loa 'ficus glomerata' rebus: loh 'copper'; thus, lohkhār 'coppersmith' PLUS bicha 'scorpion' rebus: bica 'haematite ore, ferrite ore' (Santali). vŕ̊ścika m. (vr̥ścana -- m. lex.) ʻ scorpion ʼ RV., ʻ cater- pillar covered with bristles ʼ lex. [Variety of form for ʻ scorpion ʼ in MIA. and NIA. due to taboo? <-> √vraśc?] Pa. vicchika -- m. ʻ scorpion ʼ, Pk. vicchia -- , viṁchia -- m., Sh.koh. bičh m. (< *vr̥ści -- ?), Ku. bichī, A. bisā (also ʻ hairy caterpillar ʼ: -- ī replaced by m. ending -- ā), B. Or. bichā, Mth. bīch, Bhoj. Aw.lakh. bīchī, H. poet. bīchī f., bīchā m., G. vīchī, vĩchī m.; -- *vicchuma -- : Paš.lauṛ. uċúm, dar. učum, S. vichū̃ m., (with greater deformation) L.mult. vaṭhũhã, khet. vaṭṭhũha; -- Pk. vicchua -- , viṁchua -- m., L. vichū m., awāṇ. vicchū, P. bicchū m., Or. (Sambhalpur) bichu, Mth. bīchu, H. bicchū, bīchū m., G. vīchu m.; -- Pk. viccu -- , °ua -- , viṁcua -- m., K. byucu m. (← Ind.), P.bhaṭ. biccū, WPah.bhal. biċċū m., cur. biccū, bhiḍ. biċċoṭū n. ʻ young scorpion ʼ, M. vīċũ, vĩċū m. (vĩċḍā m. ʻ large scorpion ʼ), vĩċvī, °ċvīṇ, °ċīṇ f., Ko. viccu, viṁcu, iṁcu. -- N. bacchiũ ʻ large hornet ʼ? (Scarcely < *vapsi -- ~ *vaspi -- ). vr̥ścikapattrikā -- . Addenda: vŕ̊ścika -- : Garh. bicchū, °chī ʻ scorpion ʼ, A. also bichā (phonet. -- s -- ) (CDIAL 12081) The 'ears' hieroglyphs signify:kárṇa 'ear' rebus: karaṇīya -- n. ʻ duty, business ʼ(Pali). Thus, the two signs Sign 51 and Sign 327 are signifiers of smith's duty related to loh 'copper' and bica 'haematiteore'. kárṇa m. ʻ ear, handle of a vessel ʼ RV., ʻ end, tip (?) ʼ RV. ii 34, 3. [Cf. *kāra -- 6] Pa. kaṇṇa -- m. ʻ ear, angle, tip ʼ; Pk. kaṇṇa -- , °aḍaya<-> m. ʻ ear ʼ, Gy. as. pal. eur. kan m., Ash. (Trumpp) karna NTS ii 261, Niṅg. kō̃, Woṭ. kanə, Tir. kana; Paš. kan, kaṇ(ḍ) -- ʻ orifice of ear ʼ IIFL iii 3, 93; Shum. kō̃ṛ ʻ ear ʼ, Woṭ. kan m., Kal. (LSI) kuṛō̃, rumb. kuŕũ, urt. kŕãdotdot; (< *kaṇ), Bshk. kan, Tor. k*lṇ, Kand. kōṇi, Mai. kaṇa, ky. kān, Phal. kāṇ, Sh. gil. ko̯n pl. ko̯ṇí m. (→ Ḍ kon pl. k*lṇa), koh. kuṇ, pales. kuāṇə, K. kan m., kash. pog. ḍoḍ. kann, S. kanu m., L. kann m., awāṇ. khet. kan, P. WPah. bhad. bhal. cam. kann m., Ku. gng. N. kān; A. kāṇ ʻ ear, rim of vessel, edge of river ʼ; B. kāṇ ʻ ear ʼ, Or. kāna, Mth. Bhoj. Aw. lakh. H. kān m., OMarw. kāna m., G. M. kān m., Ko. kānu m., Si. kaṇa, kana. -- As adverb and postposition (ápi kárṇē ʻ from behind ʼ RV., karṇē ʻ aside ʼ Kālid.): Pa. kaṇṇē ʻ at one's ear, in a whisper ʼ; Wg. ken ʻ to ʼ NTS ii 279; Tir. kõ ʻ on ʼ AO xii 181 with (?); Paš. kan ʻ to ʼ; K. kȧni with abl. ʻ at, near, through ʼ, kani with abl. or dat. ʻ on ʼ, kun with dat. ʻ toward ʼ; S. kani ʻ near ʼ, kanã̄ ʻ from ʼ; L. kan ʻ toward ʼ, kannũ ʻ from ʼ, kanne ʻ with ʼ, khet. kan, P. ḍog. kanē ʻ with, near ʼ; WPah. bhal. k*lṇ, °ṇi, keṇ, °ṇi with obl. ʻ with, near ʼ, kiṇ, °ṇiã̄, k*lṇiã̄, keṇ° with obl. ʻ from ʼ; Ku. kan ʻ to, for ʼ; N. kana ʻ for, to, with ʼ; H. kane, °ni, kan with ke ʻ near ʼ; OMarw. kanai ʻ near ʼ, kanã̄ sā ʻ from near ʼ, kã̄nī˜ ʻ towards ʼ; G. kane ʻ beside ʼ.(CDIAL 2830) Rebus; káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻ doing ʼ; NiDoc. karana, kaṁraṁna ʻ work ʼ; Pk. karaṇa -- n. ʻ instrument ʼ; N. dan -- karnu ʻ toothpick ʼ, kan -- karnu ʻ ear -- pick ʼ; B. karnā, kannā ʻ work, duty ʼ; M. karṇẽ n. ʻ action, deed ʼ; Si. karaṇa ʻ occupation, trade, copulation ʼ; -- P. karnī f. ʻ mason's trowel ʼ (B. D. Jain PhonPj 116 < karaṇḍa -- ); H. karnī f. ʻ mason's trowel ʼ, M. karṇī f.karaṇīya -- ; *āvr̥ttikaraṇa -- , kaṇṭakakaraṇa -- , *nakhakaraṇa -- , nāmakaraṇa -- , bhadrākaraṇa -- , *mūtrakaraṇa -- , *vartakaraṇa -- .karaṇīya ʻ to be done ʼ MBh. [Cf. karaṇi -- f. ʻ action ʼ Bālar., Pk. karaṇi -- f.: √kr̥1]Pa. karaṇīya -- n. ʻ duty, business ʼ, Pk. karaṇīa -- , °ṇijja -- ; S. karṇī f. ʻ work, act ʼ, P. karnī f., Ku. karṇī; N. karni ʻ act, exp. the sexual act ʼ; Or. karaṇī ʻ work, authority ʼ; H. karnī f. ʻ act ʼ, G. karṇī f.; M. karṇī f. ʻ incantation ʼ.(CDIAL 2790, 2791) Modern impression of Harappa Seal h-598 Modern impression of seal L-11 Lothal The third sign is a 'fish' hieroglyph. A painted goblet with the 'three-branched fig tree' motif from Nausharo I D, transitional phase between the Early and Mature Harappan periods (c. 2600-2550 BCE) (After Samzun 1992: 250, fig.29.4 no.2) Sign 327 V326 (Orthographic variants of Sign 326) V327 (Orthographic variants of Sign 327) Zebu and nine leaves. In front of the standard device and the stylized tree of 9 leaves, are the black buck antelopes. Black paint on red ware of Kulli style. Mehi. Second-half of 3rd millennium BCE. [After G.L. Possehl, 1986, Kulli: an exploration of anancient civilization in South Asia, Centers of Civilization, I, Durham, NC: 46, fig. 18 (Mehi II.4.5), based on Stein 1931: pl. 30. Semantic determinative: markhor: mẽḍhā 'markhor' rebus: medhā 'yajña, dhanam'; दु mṛdu, mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.);med 'copper' (Slavic) mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP. 1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), miho, miyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽh, mẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. meh, mehā ʻ the post ʼ, (SBhagalpur) mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīr, mīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛhf. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛha, mehra ʻ a circular construction, mound ʼ; Or. meṛhī, meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.(CDIAL 10317). Several strokes at the bottom of the sign Rimless pot, signifier of portable furnace smoke/fire. baṭa 'rimless pot' rebus: baṭa 'iron', bhaṭa 'furnace'.bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj] Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü 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 -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭāʻ 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; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭām. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v.bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) *bhraṣṭrapūra ʻ gridiron -- cake ʼ. [Cf. bhrāṣṭraja -- ʻ pro- duced on a gridiron ʼ lex. -- bhráṣṭra -- , pūra -- 2] P. bhaṭhūhar, °hrā, bhaṭhūrā, °ṭhorū m. ʻ cake of leavened bread ʼ; -- or < *bhr̥ṣṭapūra -- . *bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ] P. bhaṭhiār, °ālā m. ʻ grainparcher's shop ʼ. .ʼ.(CDIAL 9656 to 9658)
This is an addendum to: Anthropomorphs as Indus Script hypertexts, professional calling cards and Copper Hoard Cultures of Ancient India https://tinyurl.com/y7qc7t73 Like the Dholavira sign board, the anthropormorph if displayed on the gateway of workers' quarters or locality is a proclamation symbol of मांझीथा Majhīthā sadya 'member of mã̄jhī boatpeople assembly (community)'. The pictrographs of young bull, ram's horns, spread legs, boar signify: goldsmith, iron metalworker, merchant, steersman. [Details: कोंद kōnda ‘engraver' (one-horned young bull hieroglyph); kundana 'fine gold' (Kannada) PLUS bāṛaï 'carpenter' bari barea 'merchant' (boar hieroglyph) PLUS karṇaka कर्णक steersman ('spread legs'); meḍho 'ram' rebus: mẽṛhẽt, meḍ 'iron'] Brāhmī inscription on Indus Script anthropomorph reads (on the assumption that Line 3 is an inscription with Indus Script hypertexts): śam ña ga kī ma jhi tha mū̃h baṭa baran khāṇḍā samjñā 'symbol, sign' kī ma jhi tha 'of Majhitha' Sha (?) Da Ya शद sad-a 'produce (of a country)'.-shad-ya, m. one who takes part in an assembly, spectator Meaning: Line 1 (Brāhmī syllables): samjñā 'symbol, sign' (of) Line 2 (Brāhmī syllables): kī ma jhi tha 'of Majhitha locality or mã̄jhī boatpeople community or workers in textile dyeing: majīṭh 'madder'. The reference may also be to mañjāḍi (Kannada) 'Adenanthera seed weighing two kuṉṟi-mani, used by goldsmiths as a weight'. Line 3 (Indus Script hieroglyphs): baṭa 'iron' bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) mū̃h 'ingots' khāṇḍā 'equipments'. Alternative reading of Line 3 (if read as Brāhmī syllables): Sha (?) Da Ya शद sad-a signifies: 'produce (of a country' or -shad-ya, m. one who takes part in an assembly, spectator. Thus,an alternative reading is that the threelines may signify symbol of मांझीथा Majhīthā sadya 'assembly participant' or member of mã̄jhī boatpeople assembly (community). Thus, this is a proclamation, a hoarding which signifies the Majitha locality (working in) iron, mixed alloys (bharat) ingots and equipments. Alternative reding is: symbol (of) produce of Majhitha locality or community Alternatives: A cognate word signifies boatman: *majjhika ʻ boatman ʼ. [Cf. maṅga -- ?] N. mājhi, mã̄jhi ʻ boatman ʼ; A. māzi ʻ steersman ʼ, B. māji; Or. mājhi ʻ steersman ʼ, majhiā ʻ boatman ʼ, Bi. Mth. H. mã̄jhī m.(CDIAL 9714).மஞ்சி2 mañci, n. 1. cf. mañca. [M. mañji.] Cargo boat with a raised platform; படகு. Thus, a majhitha artisan is also a boatman. A cognate word is: mañjiṣṭhā f. ʻ the Indian madder (Rubia cordifolia and its dye) ʼ Kauś. [mañjiṣṭha -- ] Pa. mañjeṭṭhī -- f. ʻ madder ʼ, Pk. maṁjiṭṭhā -- f.; K. mazēṭh, dat. ˚ṭhi f. ʻ madder plant and dye (R. cordifolia or its substitute Geranium nepalense) ʼ; S. mañuṭha, maĩṭha f. ʻ madder ʼ; P. majīṭ(h), mãj˚ f. ʻ root of R. cordifolia ʼ; N. majiṭho ʻ R. cordifolia ʼ, A. mezāṭhi, maz˚, OAw. maṁjīṭha f.; H. mãjīṭ(h), maj˚ f. ʻ madder ʼ, G. majīṭh f., Ko. mañjūṭi; -- Si. madaṭa ʻ a small red berry ʼ, madaṭiya ʻ the tree with red wood Adenanthera pavonina (Leguminosae) ʼ; Md. madoři ʻ a weight ʼ.māñjiṣṭha -- .Addenda: mañjiṣṭhā -- [Cf. Drav. Kan. mañcaṭige, mañjāḍi, mañjeṭṭi S. M. Katre]: S.kcch. majīṭh f. ʻ madder ʼ.(CDIAL 9718) மஞ்சிட்டி mañciṭṭi, n. < mañjiṣṭhā. 1. Munjeet, Indian madder, Rubia cordifolia; நீர்ப்பூடுவகை. (I. P.) 2. Arnotto. See சாப்பிரா. (L.) 3. Chayroot for dyeing; சாயவேர். (L.) மஞ்சாடி mañcāṭi, n. [T. manḍzādi, K. mañjāḍi.] 1. Red-wood, m. tr., Adenanthera paronina; மரவகை. 2. Adenanthera seed weighing two kuṉṟi-mani, used by goldsmiths as a weight; இரண்டு குன்றிமணிகளின் எடை கொண்ட மஞ்சாடிவித்து. (S. I. I. i, 114, 116.) The wor manjhitha may be derived from the root: मञ्ज् mañj मञ्ज् 1 U. (मञ्जयति-ते) 1 To clean, purify, wipe off. Thus, the reference is to a locality of artisans engaged in purifying metals and alloys. Such purifiers or assayers of metal are also referred to as पोतदार pōtadāra m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith. (Marathi) Subhash Kak has suggested alternate readings, see: https://medium.com/@subhashkak1/a-reading-of-the-br%C4%81hm%C4%AB-letters-on-an-anthropomorphic-figure-2a3c505a9acd The reading of the Munjals is reproduced below: Sa Thi Ga Ki Ma Jhi Tha Sha (?) Da Ya Subhash Kak reads the letters as: śam ña ga kī ma jhi tha ta ḍa ya that is शं ञ ग की म झि थ त ड य शं झ ग śam ña ga की म झी थ kī ma jhi tha Figure 1. The copper object and the text together with the reading in Munjal, S.K. and Munjal, A. (2007). Composite anthropomorphic figure from Haryana: a solitary example of copper hoard. Prāgdhārā (Number 17). Third line of Brāhmī inscription: Line 3 त ड य ta ḍa ya (This third line has to be read as Indus Script hieroglyphs/hypertexts and NOT as Brami syllables). Subhash Kak suggests that this third line taḍaya may signify"punishment to inimical forces." Third line read as Indus Script hieroglyphs/hypertexts is deciphered as: mū̃h baṭa 'iron ingot', baran, bharat 'mixed copper, zinc, tin alloy metal' and khāṇḍā metalware. Anthropomorph found in a foundation of a house in a village called Kheri Gujar in Sonepat District in Haryana. The house itself rests on an ancient mound that has been variously dated to Late Harappan. The object is about 2 kg. and has dimensions of 30×28.5 cm. It is possible that Line 3 is a composition of Indus Script Hieroglyphs (and NOT Brāhmī syllables). Framed on this hypothesis, the message of Line 3 signifies: mū̃h baṭa 'iron ingot', baran, bharat 'mixed copper, zinc, tin alloy metal' and khāṇḍā metalware. Hypertext of Sign 336 has hieroglyph components: muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h'ingot' (Santali).PLUSSign 328 baṭa 'rimless pot' rebus: baṭa 'iron' Sign 48 is a 'backbone, spine' hieroglyph: baraḍo = spine; backbone (Tulu) Rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) Sign 211 'arrow' hieroglyph: kaṇḍa ‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) Thus ciphertext kaṇḍa ‘arrow’ is rebus hypertext kāṇḍa 'excellent iron', khāṇḍā 'tools, pots and pans, metal-ware'. saṁjñāˊ f. ʻ agreement, understanding ʼ ŚBr., ʻ sign ʼ MBh. [√jñā]Pa. saññā -- f. ʻ sense, sign ʼ, Pk. saṁṇā -- f.; S. sañaṇu ʻ to point out ʼ; WPah.jaun. sān ʻ sign ʼ, Ku. sān f., N. sān; B. sān ʻ understanding, feeling, gesture ʼ; H. sān f. ʻ sign, token, trace ʼ; G. sān f. ʻ sense, understanding, sign, hint ʼ; M. sã̄j̈ f. ʻ rule to make an offering to the spirits out of the new corn before eating it, faithfulness of the ground to yield its usual crop ʼ, sã̄jẽ n. ʻ vow, promise ʼ; Si. sana, ha˚ ʻ sign ʼ; -- P. H. sain f. ʻ sign, gesture ʼ (in mng. ʻ signature ʼ ← Eng. sign), G. sen f. are obscure. Addenda: saṁjñā -- : WPah.J. sā'n f. ʻ symbol, sign ʼ; kṭg. sánku m. ʻ hint, wink, coquetry ʼ, H. sankī f. ʻ wink ʼ, sankārnā ʻ to hint, nod, wink ʼ Him.I 209.(CDIAL 12874) meḍ 'body', meḍho 'ram' rebus: mẽṛhẽt, meḍ 'iron' (ram hieroglyph, (human) body hieroglyph) कर्णक m. du. the two legs spread out AV. xx , 133 , 3 rebus: कर्णिक having a helm; a steersman (Monier-Williams) ayas 'alloy metal' (fish hieroglyph) कोंद kōnda ‘engraver' (one-horned young bull hieroglyph); kundana 'fine gold' (Kannada). bāṛaï 'carpenter' (boar hieroglyph) bari barea 'merchant' (boar hieroglyph) The anthropomorphs are dharma samjña, signifiers of responsibilities of the metalsmith-carpenter-merchant. Signs 389, 387 signify mũhã̄ kuṭhi 'ingot smelter', mũhã̄ kolami 'ingot smithy, forge'. Anthropomorphs of Sarasvati Civilization are Indus Script hypertexts which signify metalwork. 1.. Sign 389, bun-ingot shape (oval) + 'twig', i.e. ingots produced from a smelter. This indicates that copper plates on which this hypertext occurs with high frequency are accounting ledgers of products produced from a smelter. 2. Sign 387, bun-ingot shape (oval) + 'riceplant', i.e. ingots worked on in a smithy/forge. This hypertext DOES NOT occur on copper plates. This indicates that Sign 387 signifies ingots processed in a smithy/forge, i.e. to forge ingots into metalware, tools, implements, weapons. The two distinctly orthographed Indus Script hypertexts signify 1. mũhã̄ kuṭhi 'ingot smelter', 2. mũhã̄ kolami 'ingot smithy, forge'.
In the Indian writing systems, letters of the alphabet are much more than just symbols for written communication. A letterform is not only a vehicle for conveying ideas, but is in itself representative of a specific idea. Each letterform is an integral icon, its totality consisting of its sound, its shape and its meaning. Letters forms as icons are worshipped in many different ways: as seed-syllables, as yantras and mantras, as deities having distinct physical personalities and forms; and as compound letters to represent a multitude of meanings. The paper highlights the spiritual significance assigned to letterforms in the Indian tradition. Expanded version of a paper originally presented at Type 90, Oxford, UK.
Indus Script Corpora are catalogues of metalwork duty signifiers.Indus Script hieroglyphs are धम्म र्संज्ञा dhamma saṁjñā 'duty signifiers'. Examples are provided in Kernunno and cognate inscriptions. kaṇṭhlā 'neck ring', kãṭhāḷ ʻmaritimeʼ. heritage, त्रि--शिरस् three-pointed triskele, three-headed as in कर्णिक 'a steersman' कारणी or कारणीक. prime minster, supercargo of a ship' on m0304 seal. Kernunnos from a Gallic temple & Gallic Village 2200 years ago, of Acy-Romance north of Rheims. सञ्ज्ञा, स्त्री, (सं + ज्ञा + अङ् ।) संज्ञा । इति मेदिनी ॥सञ्ज्ञुः, त्रि, (संहते जानुनी यस्य । “प्रसंभ्यां जानुनोर्ज्ञुः ।” ५ । ४ । १२९ । इति ज्ञुः ।) संज्ञुः । इत्यमरः ॥ https://sa.wikisource.org/wikशब्दकल्पद्रुमः/सङ्गवः See also three heads on the person seated in penance on Mohenjo-daro seal m0304. dharmḥsaṁjñā धर्मसंज्ञुः saṁjñā ‘having the sense of duty, the sense of duty’ (MBh.) saṁjñāˊ 12874 saṁjñāˊ f. ʻ agreement, understanding ʼ ŚBr., ʻ sign ʼ MBh. [√jñā]Pa. saññā -- f. ʻ sense, sign ʼ, Pk. saṁṇā -- f.; S. sañaṇu ʻ to point out ʼ; WPah.jaun. sān ʻ sign ʼ, Ku. sān f., N. sān; B. sān ʻ understanding, feeling, gesture ʼ; H. sān f. ʻ sign, token, trace ʼ; G. sān f. ʻ sense, understanding, sign, hint ʼ; M. sã̄j̈ f. ʻ rule to make an offering to the spirits out of the new corn before eating it, faithfulness of the ground to yield its usual crop ʼ, sã̄jẽ n. ʻ vow,promise ʼ; Si. sana, ha° ʻ sign ʼ; -- P. H. sain f. ʻ sign, gesture ʼ (in mng. ʻ signature ʼ ← Eng. sign), G. sen f. are obscure.hastasaṁjñā -- .Addenda: saṁjñā -- : WPah.J. sā'n f. ʻ symbol, sign ʼ; kṭg. sánku m. ʻ hint, wink, coquetry ʼ, H. sankī f. ʻ wink ʼ, sankārnā ʻ to hint, nod, wink ʼ Him.I 209.(CDIAL 12874) Pali attests semantics of: dhamma saññā righteous thought, faith, piety PvA 3. See the peg on Nahal Mishmar crown. The śaṅkú, 'peg' is a saṁjña 'hieoglyph' semantics: '(duty) signifier' (in this case, cire perdue metalwork) as in dharmḥsaṁjñā 'duty signifiers'. PLUS káraṇḍa1 m.n. ʻ basket ʼ BhP., °ḍaka -- m., °ḍī -- f. lex. Pa. karaṇḍa -- m.n., °aka -- m. ʻ wickerwork box ʼ, Pk. karaṁḍa -- , °aya -- m. ʻ basket ʼ, °ḍī -- , °ḍiyā -- f. ʻ small do. ʼ; K. kranḍa m. ʻ large covered trunk ʼ, kronḍu m. ʻ basket of withies for grain ʼ, krünḍü f. ʻ large basket of withies ʼ; Ku. kaṇḍo ʻ basket ʼ; N. kaṇḍi ʻ basket -- like conveyance ʼ; A. karṇi ʻ open clothes basket ʼ; H. kaṇḍī f. ʻ long deep basket ʼ; G. karãḍɔ m. ʻ wicker or metal box ʼ, kãḍiyɔ m. ʻ cane or bamboo box ʼ; M. karãḍ m. ʻ bamboo basket ʼ, °ḍā m. ʻ covered bamboo basket, metal box ʼ, °ḍī f. ʻ small do. ʼ; Si. karan̆ḍuva ʻ small box or casket ʼ. -- Deriv. G. kãḍī m. ʻ snake -- charmer who carries his snakes in a wicker basket ʼ.karaṇḍa -- 2 ʻ duck ʼ see karaṭa -- 1, kāraṇḍava -- .(CDIAL 2792) rebus: karaDa 'hard alloy'
There are many dictionaries on Indus script, hence I am constrained to add my name to this dictionary to differentiate from other research works. This is the first research work, which eexplains all the symbols found in Indus seal inscriptions.
Exotic India Art, 2016
Simple graphics or an iconic image, in his symbols man has sought across ages a moral-boosting energy and support. In art or in the course of day-today life, man has been using for millenniums symbols for portraying probabilities – the course that things might take as they occur or progress, and also for embodying the divine forces that steered his efforts into desired direction. The ‘desired’ being the goal of man’s efforts he would resort to anything that takes him nearer to it.
Journal of History Art and Archaeology, 2021
The Dhvaja (flag, banner or standard) is one of the important and significant symbols from ancient India. It is commonly known as an Indradhvaja or ‘triangular headed standard’ which can be seen on various ancient Indian coins such as those of Ujjain, Sātavāhana, Śuṅga, Kurara, Eraṇ, Mitra etc. Some sculptures from Bharhut and Sanchi have depictions of Dhvaja. Also this symbol can be seen on Jain Ayāgapaṭṭas, in the Udaygiri-Khandgiri caves. We also find references to Dhvaja in ancient literature like Bharata-Nāṭyaśāstra, Br̥hat-Saṃhitā, Samarāṅgaṇasūtradhāra. It is proposed to trace the history and depiction of Dhvaja symbol in literature and art forms and to explore the relationship between the unidentified symbols from Ayāgapaṭṭa and Dhvajas.
Running down the street to find his brother Jean-François Champollion (1790-1832) yelled "Je tiens mon affaire!" (I've got it!) but collapsed from the excitement. This note is a tribute to this exclamation of Champollion. I call Bharatam Janam, Tvaṣṭr̥ dhokra kolhe sippi, the lost-wax smelters, sculptors, metasmiths, artificers who invented a writing system of remarkable fidelity and simplicity of the cipher based on rebus method. What language did they speak? A Prakritam gloss with phonetic variants provides the lead: kamad.ha, kamat.ha, kamad.haka, kamad.haga, kamad.haya= a type of penance is recognized in sets of hieroglyph-multiplexes on ten inscriptions of Indus Script Corpora. These inscriptions and decipherment are presented. (Haragovindadāsa Trikamacanda Seṭha, 1963,Prakrit-Sanskrit-Hindi dictionary, Motilal Banarsidass, Dehi,p.223) 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' . Ganweriwala tablet. Ganeriwala or Ganweriwala (Urdu: گنےریوالا Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan. gumat.a, gumut.a, gumuri, gummat.a, gummut.a a copula or dome (Ka.); ghumat.a (M.); gummat.a, gummad a dome; a paper lantern; a fire-baloon (H.Te.); kummat.t.a arch, vault, arched roof, pinnacle of a pagoda; globe, lantern made of paper (Ta.)(Ka.lex.); gummaṭ m. ‘dome’ (P.) CDIAL 4217 Other glyphs (glyphemes): gúlma— m. ‘clump of trees’ VS., gumba— m. ‘cluster, thicket’ (Pali); gumma— m.n. ‘thicket’ (Pkt.); S. gūmbaṭu m. ‘bullock’s hump’; gumbaṭ m., gummaṭ f. ‘bullock’s hump’ (L.) CDIAL 4217 rebus: kumpat.i = ban:gala = an:ga_ra s’akat.i_ = a chafing dish, a portable stove, a goldsmith’s portable furnace (Te.lex.) kumpiṭu-caṭṭichafing-dish, port- able furnace, potsherd in which fire is kept by goldsmiths; kumutam oven, stove; kummaṭṭi chafing-dish (Ta.).kuppaḍige, kuppaṭe, kum- paṭe, kummaṭa, kummaṭe id. (Ka.)kumpaṭi id. (Te.) DEDR 1751. kummu smouldering ashes (Te.); kumpōḍsmoke.(Go) DEDR 1752. 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. Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'. Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner: 1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230) 2. Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790) 3. khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.) See: http://bharatkalyan97.blogspot.in/2013/07/witzels-breath-taking-announcement-of.html Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali) meď 'copper' (Slovak) http://bharatkalyan97.blogspot.in/2015/11/ornamental-endless-knot-svastika-other.html 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 ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa ‘metalware’ kaṇḍa ‘fire-altar’. kAru 'crocodile' Rebus: kAru 'artisan'. Hieroglyphs (allographs): kamaḍha 'penance' (Prakriam) kamḍa, khamḍa 'copulation' (Santali) kamaṭha crab (Skt.) kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.) kamat.ha = 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. Stampe's 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) మెట్టు (p. 1027) [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు. "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu) Rebus: meD 'iron' (Mundari. Remo.) http://bharatkalyan97.blogspot.in/2015/11/dance-step-med-in-indus-script.html Slide 207 Tablet with inscription. Twisted terra cotta tablet (H2000-4441/2102-464) with a mold-made inscription and narrative motif from the Trench 54 area. In the center is the depiction of what is possibly a deity with a horned headdress in so-called yogic position seated on a stool under an arch. Harappa. Two tablets. Seated figure or deity with reed house or shrine at one side. Left: H95-2524; Right: H95-2487. Harappa. Planoconvex molded tablet found on Mound ET. A. Reverse. a female deity battling two tigers and standing above an elephant and below a six-spoked wheel; b. Obverse. A person spearing with a barbed spear a buffalo in front of a seated horned deity wearing bangles and with a plumed headdress. The person presses his foot down the buffalo’s head. An alligator with a narrow snout is on the top register. “We have found two other broken tablets at Harappa that appear to have been made from the same mold that was used to create the scene of a deity battling two tigers and standing above an elephant. One was found in a room located on the southern slope of Mount ET in 1996 and another example comes from excavations on Mound F in the 1930s. However, the flat obverse of both of these broken tablets does not show the spearing of a buffalo, rather it depicts the more well-known scene showing a tiger looking back over its shoulder at a person sitting on the branch of a tree. Several other flat or twisted rectangular terracotta tablets found at Harappa combine these two narrative scenes of a figure strangling two tigers on one side of a tablet, and the tiger looking back over its shoulder at a figure in a tree on the other side.” [JM Kenoyer, 1998, p. 115]. m1181A 2222 Pict-80: Three-faced, horned person (with a three-leaved pipal branch on the crown), wearing bangles and armlets and seated, in a yogic posture, on a hoofed platform 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: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050 Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222 kūdī 'bunch of twigs' (Sanskrit) Rebus: kuṭhi 'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.ccord. to Kaus3. , Sch. = बदरी, "Christ's thorn".(Monier-Williams) Hieroglyph: kamaḍha ‘penance’ (Pkt.) Rebus 1: kampaṭṭa ‘mint’ (Ma.) kamaṭa = portable furnace for melting precious metals (Te.);Rebus 2: kaṇḍa ‘fire-altar' (Santali); kan ‘copper’ (Ta.) Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ (Gujarati); kara 'hand' (Rigveda) Rebus: khAr 'blacksmith' (Kashmiri) The bunch of twigs = ku_di_, ku_t.i_ (Skt.lex.) ku_di_ (also written as ku_t.i_ in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kaus’ika Su_tra (Bloomsfield’s ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk,98) 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] Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro (DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA 1994:Fig. 10.9); courtesy of the Archaeological Survey of India; c. horned deity surrounded by animals, Mohenjo-daro (JOSHI – PARPOLA 1987:M-304); courtesy of the Archaeological Survey of India.
2010
The article analyses for the first time the phenomenon of burial ad sanctos and of the necropolis in the aniconic Jaina traditions, which in certain respects serves as a functional equivalent of the temple city as the principla pilgrimage site, tīrtha, in the Mūrtipūjaka and Digambara traditions. Many originally anti-iconic traditions came to accept and worship certain aniconic images, such as relic shrines, empty thrones or stylised footprint images, that is, real or simulated relics of contact, and hence have become, to varying degrees, “image-worshipping” traditions in their need and desire to establish networks of abodes and of sacred sites, whether labelled tīrtha, dhām or aitihāsik sthal. A problem for the cult of the multi-shrined necropolis is that it invokes primarily the example, values and powers of a particular deceased mendicant and of his or her lineage or monastic order, not of the Jaina tradition in general. This limits the potential for symbolic universalisation wit...
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- WEBER, A 189 1 Die Hanakchriften-Verreichnirse der koniglichen Bibliothek m Berlin. Fiinfier R 4 Verzeichnirs der Sansluit-und P &'I-Hmdschn'fien. Zweiter Band fiqfSchn'~afeln Dritte Abrheilung, Berlin, A. Asher & Co. The bhale symbol of the Jainaq
Gouriswar Bhattacharya