-- Meluhha Indus Script hypertexts, wealth accounting ledgers of artisan & seafaring merchant guilds, signified by Varāha & Gaṇeśa Predating the anthropomorph with a boar's head found in the context of Copperhoard culture of Ancient Bharat, to signify a metalworker and metals merchant is a tradition traceable to Indus Script Hypertexts which signify Varāha and Gaṇeśa shown in pratimā as dancers together with other members of gaṇa -- artisan & seafaring merchant guilds. Varāha and Gaṇeśa signified as dancers relates to the dancing halls --नाचण्याचा फड A nachhouse -- which is a component of structures used as metals manufactories called फड, phaḍa, 'cobra hood' rebus: फड, phaḍa 'Bhāratīya arsenal of metal weapons'. R̥gveda describes Marut gaṇa as dancers through the air; this metaphor leads to the sculptural frescos showing Marutgaṇa as dancers; the sculptural tradition is traceable to the pratimā created by craftsmen who created rock-cut sculptures of Badami caves (see the sculptural fresco of Naṭarāja with Gaṇeśa's dance-step: RV 8.020.22 Maruts, dancing (through the air), decorated with golden breast-plates, the mortal (who worships you) attains your brotherhood; speak favourably to us, for your affinity is ever (made known) at the regulated (sacrifice). Marut-gaṇa including Gaṇeśa (third from left) & Varāha (fourth from left) on a sculptural panel. Kailasanatha Temple,Kanchipuram. R̥gveda gaṇa are Vrātam Vrātam gaṇam gaṇam, guilds of artisans, seafaring merchants. R̥gveda extols the contributions made by gaṇa to the creation and sharing of wealth created, using the vivid expression: Vrātam Vrātam gaṇam gaṇam. The semantics of this expression elaborate as guilds of artisans, seafaring merchants. The guild-master of such guilds is gaṇanāyaka also called gaṇapati, mahāvināyaka. A pratimā of mahāvināyaka is archaeologically attested in Gardez with precise semantic explanations using Indus Script hypertexts of cobrahood and feline paw, detailed in this monograph. The veneration of gaṇapati as guild-master, Marut gaṇa is traceable to the tradition of R̥gveda attested in RV 3.26.6, RV 6.66, RV 2.23, RV 10.112.9. This abiding veneration finds expression in sculptural frescos all over the world which adores R̥gveda tradition. RV 3.26.6 refers to Gaṇa in the context of Marut-s: व्रातं व्रातं गणम् गणम् Vrātam Vrātam gaṇam gaṇam In this expression, व्रात signifies a particular form of assembly, a guild. व्रात m. (connected with √1. वृ , or with व्रत्/अ and √2. वृ) a multitude , flock , assemblage , troop , swarm , group , host (व्र्/आतं व्रातम् , in companies or troops ; प्/अञ्च व्र्/आतास् , the five races of men) , association , guild RV. &c; n. manual or bodily labour , day-labour (Monier-Williams) namo gaṇebhyo gaṇapatibhyaś ca vo namo namo vrātebhyo vrātapatibhyaś ca vo namo namaḥ (MS 2.9.4) R̥gveda gaṇa are Marut gaṇa with two remarkable anthropomorphs: varāha, with the head of a boar and Gaṇeśa, with the head of an elepant. I suggest that varāha, with the head of a boar and Gaṇeśa, with the head of an elepant are Indus Script hypertexts. The hypertexts signify:1.baḍhia = a castrated boar, a hog; rebus: बढई baḍhī m ( H) A carpenter; barea 'merchant'; and 2. karibha, ibha 'elephant' rebus: karba, ib 'iron'. Gaṇeśa is shown with a) cobrahood and b) tiger vestment to further add the semantic identifiers of: a) फड, phaḍa, 'cobra hood' rebus: फड, phaḍa 'Bhāratīya arsenal of metal weapons' and b) panja 'claw of beast, feline paw' rebus: panja 'kiln', i.e. boar and elephant signify wood/iron worker and smelter guild. baḍhia = a castrated boar, a hog; rebus: बढई baḍhī m ( H) A carpenter. (Marathi) baḍhi 'a caste who work both in iron and wood' bari 'merchant' barea 'merchant' (Santali) వడ్రంగి, వడ్లంగి, వడ్లవాడు (p. 1126) vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. vardhaki m. ʻ carpenter ʼ MBh. [√vardh] Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, °ṛui, Or. baṛhaï, °ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛahī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā.(CDIAL 11375)বরাহ barāha 'boar' Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman. బత్తుడు battuḍu báḍḍhi वर्धकि, vaḍlaṅgi, baṛhaï, baḍaga, baḍhi, bāṛaï, varāha, 'title of five artisans' बढई baḍhī m ( H) A carpenter. (Marathi) పట్టడ paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు. వడ్రంగి, వడ్లంగి,వడ్లవాడు vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. vardhaki m. ʻ carpenter ʼ MBh. [√vardh] Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, °ṛui, Or. baṛhaï, °ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛahī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā.*vārdhaka -- .Addenda: vardhaki -- : WPah.kṭg. báḍḍhi m. ʻ carpenter ʼ; kṭg. bəṛhe\i, báṛhi, kc. baṛhe ← H. beside genuine báḍḍhi Him.I 135), J. bāḍhi, Garh. baṛhai, A. also bāṛhai AFD 94; Md. vaḍīn, vaḍin pl.(CDIAL 11375) Nataraja with 18 arms. gaṇa play drums. Gaṇeśa in dance-step. Also in the cave are Karthikeya and Gaṇeśa Harihara with dancing gaṇa. Fused sculpture of a composite animal. Elephant. Zebu. Cave 2, Badami for Vishnu Varaha anthropomorph. Part human – part boar, holding Bhudevi (earth) in one hand, his discus (chakra) in the other. His left foot rests in the netherworld, as he rescues Bhudevi from the depths of the ocean. Svastika pattern. Wheel with 16 spokes on the ceiling of Cave 2. Each spoke is a fish surrounding the central lotus. Cave 3, Badami, Vishnu This is an Indus Script hypertext. Eraka ‘nave of wheel’ rebus: eraka ‘copper, moltencast’ PLUS ayo ‘fish’ rebus: aya ‘iron’ ayas ‘alloy metal’ PLUS t tāmarasa ‘lotus’ rebus: rebus: tamba ‘copper’. The Durga Temple, Aihole, and the Saṅgameśvara Temple, KūḐavelli: A Sculptural Review Carol Radcliffe Bolon Ars Orientalis Vol. 15 (1985), pp. 47-64 (18 pages) Published by: Freer Gallery of Art, The Smithsonian Institution and Department of the History of Art, University of Michigan Previous Item | Next Item https://www.jstor.org/stable/4543046 Aihole showing the dance poses of Gaṇeśa and Varaha. Gaṇa are shown as kharva, 'dwarfs' on sculptures to signifya nidhi or treasure of Kubera. खर्व mfn. (cf. /अ- , त्रि-) mutilated , crippled , injured , imperfect TS. ii , 5 , 1 , 7 Rebus: खर्व m. N. of one of the nine निधिs or treasures of कुबेर L See: A treatise on gaṇa who contribute wealth accounting ledgers of Indus Script Corpora of 8000 inscriptions, व्रातं व्रातं गणम् गणम् (RV 3.26.6) https://tinyurl.com/yc9lhmd5 Guild-master’s Indus Script Inscription (m304) deciphered. Hypertext khāra, šē̃ṣṭrĭ̄ 'squirrel’ is plaintext khār 'blacksmith' śrēṣṭhin 'guild-master' (Aitareya Brāhmaṇa) https://tinyurl.com/y9ug5h9y The guild-master signs off on the inscription by affixing his hieroglyph: palm squirrel,Sciurus palmarum' Hieroglyph: squirrel: *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri). *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhī, śeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or eṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)

-- Karaṇi, Citragupta & accounting for अष्टवसु 'eight wealths' of the nation The hieroglyphs of Indus Script are about 900 (about 200 pictorial motifs and about 700 'signs' of the script). The pictorial meanings of these 900 hieroglyphs and the corresponding, similar sounding 'wealth-related' words of Meluhha, lingua franca of the civilization yields a vocabulary of over 1800 words and expressions denoted as 'hypertexts' or 'combinations of hieroglyphs'. These hypertexts unravel due to the decipherment of over 8000 Indus Script inscriptions dated from 3300 BCE. I submit that these 1800 words constitute the core, substrate vocabulary of the people of Sarasvati Civilization who documented their wealth-creating activities on Indus Script inscriptions. Multiplied by over 20 languages which provide varieties of phonetic forms of the underlying word signified by a 'hieroglyph' and its rebus reading related to 'wealth-creation' activities, we get access to over 36000 words of Indian sprachbund, 'speech union' or linguistic arearelated to economic activities of the people -- artisans, seafaring merchants and guilds -- engaged in wealth-creation activities of the nation. We get to the core vocabulary to explain the formation of ALL Indian languages and to explain why the pronunciation variants occurred over millennia, while maintaining the cultural and semantic unity of the messages conveyed by the hieroglyphs. For example, the most frequently occurring hieroglyph of the Indus Script is karṇakḥ कर्णकः Ved. A prominence; handle; kárṇa m. ʻ ear, handle of a vessel ʼ RV., ʻ end, tip (?) ʼ RV. ii 34, 3. (CDIAL 2830) kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ] Pa. kaṇṇaka -- ʻ having ears or corners ʼ; Wg. kaṇə ʻ ear -- ring ʼ NTS xvii 266; S. kano m. ʻ rim, border ʼ; P. kannā m. ʻ obtuse angle of a kite ʼ (→ H. kannā m. ʻ edge, rim, handle ʼ); N. kānu ʻ end of a rope for supporting a burden ʼ; B. kāṇā ʻ brim of a cup ʼ, G. kānɔ m.; M. kānā m. ʻ touch -- hole of a gun ʼ.(CDIAL 2831) karṇika कर्णिक a. 1 Having ears. -2 Having a helm. -कः A steersman. karṇadhāra m. ʻ helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1]Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2836) കണക്കു kaṇakkụ T. M. (ഗണം, ഗണിതം) 1. Computation, account. ക. അടെക്ക, ഒപ്പിച്ചു കേള്‍പിക്ക Nasr. po. ക. ഒക്ക ഇന്നു തീര്‍ക്കണം TP. to settle accounts. ക. പറക, ബോധിപ്പി ക്ക TR. to give account. കണക്കധികാരി accountant.കണക്കന്‍ 1. accountant കണക്കപ്പിളള, കണ ക്കപ്പിളളച്ചന്‍ TR. നാട്ടധികാരി കണക്ക പ്പിളള KU. Pudushēry Nambi in Kōlanāḍu. — an East-Indian (mod.) 2. a class of slaves കണക്കന്‍റെ കഞ്ഞി കുടിക്കാതെ prov. കണ ക്കന്‍റെ ഭോഷന്‍; also കണക്കച്ചെറുമന്‍ കണക്കും കാര്യവും (നടക്കയില്ല TR.) despatch of public business, also അവന്‍റെ കയ്യും കണക്കും കണ്ടാറെ on inspecting his office.കണക്കുസാരം a mathematical treatise of Nīlacaṇṭha.കണക്കെഴുത്തു office of accountant. അംശംക'കാരന്‍ MR.കണക്കോല accounts. (Malayalam) kaṇakkaṉ கணக்கன் kaṇakkaṉ , n. < gaṇaka. [M. kaṇakkaṉ.] 1. Accountant, book-keeper; கணக் கெழுதுவோன். (திருவாலவா. 30, 22.) 2. See கணக்கப்பிள்ளை, 1. 3. A certain caste; ஒரு சாதி. (இலக். வி. 52, உரை.) 4. Arithmetician; கணக்கில் வல்லவன். (W.) 5. One who is well versed in the philosophy of religion, or in any science; சாஸ்திரம் வல்லோன். சமயக்கணக்கர் (மணி. 27, 2). karṇam கர்ணம்² karṇam , n. < karaṇa. 1. Village accountantship; கிராமக்கணக்குவேலை. 2. Village accountant; கிராமக்கணக்கன். karaṇikam கரணிகம் karaṇikam , n. < karaṇa. 1. Intellectual power, any one of the four anta-k-karaṇam, q.v.; அந்தக்கரணம். (W.) 2. A kind of dramatic action or dancing; கூத்தின்விகற் பம். (W.) 3. Copulation; கலவி. (சங். அக.) 4. [T. karaṇikamu.] Office of accountant. See கருணீகம். Loc.karuṇīkam கருணீகம் karuṇīkam , n. < karaṇa. [T. karaṇikamu.] Office of village accountant or karṇam; கிராமக்கணக்குவேலை. karuṇīkaṉ கருணீகன் karuṇīkaṉ , n. < id. 1. Village accountant; கிராமக்கணக்கன். கடுகை யொருமலை யாகக் . . . காட்டுவோன் கருணீகனாம் (அறப். சத. 86). 2. A South Indian caste of accountants; கணக்குவேலைபார்க்கும் ஒருசாதி. kāviti காவிதி kāviti , n. 1. Ancient title bestowed on Vēḷāḷas by Pāṇḍya kings; வேளாளர்க்குப் பாண்டியர் கொடுத்துவந்த ஒரு பட்டம். (தொல். பொ. 30, உரை.) 2. Title conferred on Vaišya ladies; வைசியமாதர்பெறும் பட்டவகை. எட்டி காவிதிப் பட் டந்தாங்கிய மயிலியன் மாதர் (பெருங். இலாவாண. 3, 144). 3. Minister; மந்திரி. (திவா.) 4. Accountant caste; கணக்கர் சாதி. (சூடா.) 5. Collector of revenues; வரிதண்டும் அரசாங்கத்தலைவர். kāviti-p-pū காவிதிப்பூ kāviti-p-pū , n. < id. +. Gold flower, the badge of the title kāviti; காவிதி யென்னும் பட்டத்துடன் அரசர் அளிக்கும் பொற்பூ. (தொல். எழுத். 154, உரை.)kāvitimai காவிதிமை kāvitimai , n. < id. Accountant's work; கணக்குவேலை. காவிதிமைசெய்ய ஒருவ னுக்கு அரையன் மணவிலிங்கனான செம்பியன் பெருங் காவிதிக்குப் பங்கு அரையும் (S.I.I. ii, 277).kāviti-p-puravu காவிதிப்புரவு kāviti-p-puravu , n. < காவிதி +. Land bestowed upon the king's ministers; அரசாற் காவிதியர்க்குக் கொடுக்கப்பட்ட ஊர். (நன். 158, மயிலை.) (Tamil) కరణము karaṇamu. [Skt.] n. A village clerk, a writer, an accountant. వాడు కూత కరణముగాని వ్రాతకరణముకాడు he has talents for speaking but not for writing. స్థలకరణము the registrar of a district. కరణము n. Instrument, means. కొరముట్టు. An organ of sense. ఇంద్రియము. Marking or causing, as in ప్రియంకరణము endearing. స్థూలంకరణము fattening, శుభగంకరణము fortunate. కరణచతుష్టయము the mind, intellect, volition and self-consciousness. మనోబుద్ధిచిత్తాహంకారములు. కరణత్రయము thought, word and deed. మనస్సు. వాక్కు, కర్మము. త్రికరణశుద్ధిగా completely, absolutely, entirely. కరణీయము karaṇīyamu. adj. Fit to be performed, worthy to be done చేయదగిన. కరణికము or కరణీకము karanikamu. Clerkship: the office of a Karanam or clerk. చిత్రగుప్తుడు chitra-guptuḍu. n. Name of an accountant of Yama the god of Death. యమునివద్ద లెక్క వ్రాయువాడు. కాయస్థుడు kāyasthuḍu. [Skt.] n. A man belonging to the writer caste. An accountant. కరణము.(Telugu) कुळकरणी kuḷakaraṇī m (कुल & कारणी S) An officer of a village under the पांटील. His business is to keep the accounts of the cultivators with Government and all the public records. कूळघडणी kūḷaghaḍaṇī f The record annually prepared by the कुळकरणी for each कूळ or Ryot, exhibiting his lands and means and tillage and dues &38;c. in his relation to Government.नाडकरणी nāḍakaraṇī, नारकरणी nārakaraṇī m An hereditary district-accountant. देशकुळकरण dēśakuḷakaraṇa n The office of देशकुळकरणी.देशकुळकरणी dēśakuḷakaraṇī m An hereditary officer of a Mahál. He frames the general account from the accounts of the several Khots and Kulkarn̤ís of the villages within the Mahál; the district-accountant. अष्टाधिकार (p. 31) aṣṭādhikāra m pl (S) The eight main offices or posts of a village: viz. जलाधिकार Office of bringing or supplying water to public officers and travellers; स्थलाधिकार Office of determining and pointing out the several places of residence, i. e. the office of पाटील or Headman; ग्रामाधिकार Office of supervision of the village trade and general business; कुललेखन Office of keeping the accounts of the Ryots with Government, and of preserving the public records; ब्रह्मासन Office of a sort of bailif, bailiwick; दंडविधिनियोग Office of magistrate or justice; पौरोहित्य Office of the family or village-priest; ज्योतिषी Office of the village-astronomer. The above lofty designations are according to the following authoritative Shlok--जलाधि- कारश्र्च स्थलाधिकारो ग्रामाधिकारः कुललेखनंच ॥ ब्र- ह्मासन दंडविधेर्नियोगो पौरोहितं ज्योतिषनष्टमेवं ॥ 1 ॥ but the popular or vulgar terms are 1 कोळीपणा (concrete is कोळी), 2 पाटिलकी (पाटील), 3 दे- शमुखी, महाजनकी, &38;c. (देशमुख with महाजन &38;c.), 4 कुळकरण (कुळकरणी), 5 वर्त्तकी (वर्त्तक), 6 धर्माधिकार (धर्माधिकारी), 7 उपाधीक or भटपणा (उपाध्या or भट), 8 जोशीपणा (जोशी). 2 Applied humorously to express the daily operations or business of the body--ablution, inunction, eating, evacuating, sleeping &38;c.(Marathi) କରଣି ଅକ୍ଷର— Karaṇi akshara ଦେ. ବି— ତାଳପତ୍ରରେ ଲେଖନ ଦ୍ବାରା ଲେଖିବା ପରିଶ୍ରମକୁ ଲାଘବ କରିବା ନିମନ୍ତେ ବ୍ୟବହୃତ କେତେକ ଛଟା ଅକ୍ଷର ଓ ସାଙ୍କେତିକ ଚିହ୍ନ—A running in script in oriya and abbreviations used by the Karaṇas to save trouble in writing. [ଦ୍ର—କରଣି ଅକ୍ଷରମାନ 'ଛଟା ଅକ୍ଷର' ତଳେ ଦେଖାଇ ଦିଆ ୟାଇଅଛି।]

I suggest that the elephant-head of Gaṇeśa in sacred sculptures is modeled after the hypertext compositions signified as 'composite animals' on Indus Script epigraphs. m1177, m0300 Mohenjo-daro seals ligature a human face to the trunk of an elephant.This epigraphy model provides the framework of an artistic style in iconography of Gaṇeśa. (The meanings of the inscriptions m1177, m0300 are presented in Epigraphia Indus Script discussed in this monograph). Hypertext expressions of Indus Script inscriptions are also replicated on artifacts in the round, examples of which are presented in this monograph. A seal and octagonal brick pillar in a yajñakuṇḍa in Binjor (4MSR) archaeological site on the banks of River Sarasvati. The octagonal pillar of the Bronze Age civilization provides the framework of an artistic style in iconography of Rudrabhāga of Śivalinga. The rudrabhāga of Śivalinga which is octagonal in shape is traceable to this octagonal pillar evidenced in Binjor which is in consonance with the R̥gveda tradition of installing a ketu, 'emblem' proclaiming the performance of a yajña, a Soma yajña in particular. Ekamukhalinga from Vat Sak Sampou with Brahma-, Rudra- and Viṣṇu-bhāga in three segments from the bottom-up. On the top segment of Vat Sak Sampou Śivalinga, a human face is ligatured on the artistic style of the human face ligatured to the trunk of an elephant on Mohenjo-daro epigraphs m0300 and m1177. In Epigraphia Indus Script, an elephant signifies: hieroglyph: karibha, ibha 'elephant' rebus: karba, ib 'iron', ibbo 'merchant'. [In Epigraphia Indus Script, the human face signifies: hieroglyph mũh 'face' rebus: mũhe 'ingot' (Santali) mũhã̄ 'the quantity of metal taken out of a furnace')]. I suggest that the Rudra-bhāga of Śivalinga is modeled after the octagonal pillar of Binjor as a ketu proclaiming the performance of a Soma Yāga. Thus, the iconography of Śivalinga and Gaṇeśa in ancient Bhāratīya cultural tradition, in iconogaphy in particular, are rooted in hypertext expressions of Epigraphia Indus Script. This monograph presents a thesis that the Indus Script Corpora are also a repository of Hindu Art & Cultural History since the roots of Hindu iconography are traceable to the Indus Script writing system. “Iconography, as a branch of art history, studies the identification, description, and the interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style. The word iconography comes from the Greek εἰκών ("image") and γράφειν ("to write"). A secondary meaning (based on a non-standard translation of the Greek and Russian equivalent terms) is the production of religious images, called "icons", in the Byzantine and Orthodox Christian tradition … In art history, "an iconography" may also mean a particular depiction of a subject in terms of the content of the image, such as the number of figures used, their placing and gestures.” https://en.wikipedia.org/wiki/Iconography Twenty sets of inscriptions of Indus Script Corpora have been presented in the monographs listed below. The sets cover over 5000 inscriptions from Mohenjo-daro, Harappa and 40+ other sites of Sarasvati-Sindhu civilization. The sets present readings of the Meluhha (Bhāratīya sprachbund) hypertext expressions and deciphered plain text meanings as metalwork wealth (artha) account ledgers. Thus, the inscriptions constitute the repository of Ancient India Economic History –wealth of nations of Eurasia created by artisans and seafaring merchants, during the Tin-Bronze Revolution from ca. 5th millennium BCE. Set 1 Logical connection, anvaya, of hieroglyphs/hypertexts of Harappa inscriptions to artha 'wealth, business, meaning' -- Set 1 http://tinyurl.com/lnrjja8 Set 2: Harappa inscriptions Set 2 Metalwork catalogues document wealth-creation by Meluhha artisans http://tinyurl.com/kuj6lxv Set 3 Harappa inscriptions, meanings Set 3 Metalwork trade & wealth catalogues data archives http://tinyurl.com/ltxjhoh Set 4 Harappa inscriptions, meanings Set 4 http://tinyurl.com/n6aldac Set 5 Harappa inscriptions, meanings Set 5 metalwork catalogueshttp://tinyurl.com/l535q3w Set 6 Indus Script wealth & metalwork trade account – Corpora of Harappa engravings, inscriptions Set 6 http://tinyurl.com/lmzcoge Set 7 ಕಾಯಕವೇ ಕೈಲಾಸ ‘Work is worship’-- ātmā of Meluhha artisans and seafaring merchants of Bronze Age (Set 7 Harappa inscriptions) http://tinyurl.com/m5y34k8 Set 8 Harappa inscriptions (1149) are data archives of foundry guild operations of Bronze Age http://tinyurl.com/kzy95qg Set 9 Mintmaster's karṇika sāḷ, 'school for scribes' of foundry operations and paṇi, ‘market street’ in Harappa http://tinyurl.com/lhceknk Set 10 Harappa Foundry operations data archives in Indus Script h1691 to h1899 http://tinyurl.com/n5w64g9 Set 11 Smelter, metalcasting operations of Harappa foundry -- Harappa inscriptions h1900 to h1999 http://tinyurl.com/ms99gdu Set 12 Wealth-creating metallurgical repertoire of Harappa foundry metalcasts, All 12 sets of 2590 Harappa Inscriptions http://tinyurl.com/y8djs5qs Set 13 Itihāsa of Tin-Bronze Revolution of Eurasia -- Indus Script engravers, wealth accountants along Ancient Maritime Route—Docu mented karaḍā ledger entries of kañcu,kaṁsá, kuṭila, āra and other metalwork trade http://tinyurl.com/yczk4wva (All inscriptions from all sites excuding Harappa and Mohenjo-daro) Set 14 Bronze Age Indus Script inscriptions of Mohenjo-daro on metal, are karaḍā ledger entries of metalwork wealth accounts http://tinyurl.com/yark28l7 Set 15 Mohenjo-daro inscriptions from Indus Script Corpora http://tinyurl.com/yadqeabb Set 16 Vākyapadīya of Mohenjo-daro Inscriptions --Indus Script Corpora are precursors of Kauṭilya’s Arthaśāstra,science of wealth of nations http://tinyurl.com/y86fjkfc Set 17 Mohenjo-daro Inscriptions-- Indus Script Corpora Hypertexts & meanings -- metalwork artha, ‘wealth creation’, kharaḍa ‘account day-books’ http://tinyurl.com/y796874m Set 18 Mohenjo-daro inscriptions Vākyapadīya m627 to m873 https://tinyurl.com/y996jmo6 Set 19 Mohenjo-daro inscriptions Vākyapadīya m874 to m1280 https://tinyurl.com/yaylr3cl Set 20 Mohenjo-daro inscriptions Vākyapadīya m1281 to m2131: https://tinyurl.com/y9fm8cuv Two dominant art compositions in Bhāratīya Itihāsa and cultural markers of the civilization are: Śiva linga and Gaṇeśa.

I suggest that kīrtimukha on Gardez Gaṇeśa Mūrti is an edifice, palace, temple. It is also called kole.l 'temple' rebus: kole.l 'smithy,forge'. kīrtimukha as the face of a tiger, semantically reinforced by the paws of a feline is an Indus Script cipher. It signifies kole.l 'temple' rebus: kole.l 'smithy, forge'. kola hieroglyph signifies a tiger, read rebus:kolhe 'smelter' kol 'working in iron' kolle 'blacksmith'. Why is the face of a tiger shown on a divinity personified as anthropomorph with an elephant face and trunk? karibha, ibha 'elephant' rebus; karba, ib 'iron' ibbo 'merchant'. This is a rebus representation of working with iron ores, tri-dhātu, a synonym of Gaṇeśa. The three mineral, ferrite ores are: magnetite, haematite, laterite. These three minerals are also signified on Indus Script corpora: poḷa, 'zebu, bos indicus' rebus: poḷa 'magnetite'; bicha 'scorpion' rebus; bica 'haematite'; goṭa 'round pebble, stone' rebus: goṭa 'laterite'. kīrtimukha on Gardez tri-dhātu Gaṇeśa Mūrti is also embellished with cobra hood signifiers: phaḍa 'cobra hood' rebus: phaḍa 'metals manufactory' paṭṭaḍe 'metals workshop'. This signifies Gaṇeśa as the leader of the Gaṇa of artisans engaged in metals manufactory work. See: Broad strap antarīya on Gardez Gaṇeśa Mūrti is Indus Script hypertext to signify metals manufactory of Sarasvati Civilization https://tinyurl.com/y8dyvjv8 An early example of kīrtimukha is seen on the scupture of Gardez Gardez Gaṇeśa Mūrti This kīrtimukha architecturl tradition to build and signify a temple is an abiding dhamma samjñā 'responsibility indicator' which continues in Bhāratīya Itihāsa. A tiger ligatured with cobra hoods signified on the broad strap worn by Gardez Gaṇeśa Mūrti. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' PLUS phaḍa 'cobra hood' rebus: phaḍa 'metals manufactory' PLUS paṭṭaḷe 'broad strap around the waist' rebus: rebus: phaḍa 'metals manufactory' paṭṭaḍe 'metals workshop'. Ziba Ziba (or, Zeeba, Zipak) origins are recorded in the Skandha Purana. Once Lord Shiva created a demon called Jalandhara from the blaze of his third eye. The demon soon coveted the attentions of Parvati, the Great God's consort . He persuaded Rahu to approach her for him. When Shiva found out, he again caused his 3rd eye to blaze thus creating Ziba, whose role was to devour Rahu. When Rahu begged Shiva for mercy, the God called off Ziba. But Ziba, now with no prey to feed upon, began to devour his own body until only his head and hands were left. (We can see his hands pointing to his "non-body.") He was then appointed Shiva's door-keeper. The face and hands of Ziba remind us of the consequences of desire and hunger, but now he is also the guardian of practitioners. Yalli Ziba is a form of Yalli (corruption of Skt. vyala, fierce monster). These are architectural or decorative animal-mask motifs. They feature mainly as stone carvings like the ones at the famous Hindu temples of Madurai in Tamil Nadu, South India. They usually have the stylized body of a lion and the head of some other beast, most often an elephant (gaja-vyala.) Other common examples are: the lion-headed (simha-vyala,) horse- (ashva-vyala,) human- (nir-vyala) and the dog-headed (shvana-vyala) ones. They are related to the hippogryphs and sphinxes of Egypt and Mesopotamia, and symbolize the world-emperor (Skt. chakravartin,) whose strength derives from divine power. Another monstrous creature is the Shabara, a hybrid of a lion, horse and ram.) Their counterparts in European design are some of the fantastic animals used as mediaeval heraldic devices, eg. the griffon. Mukha Mukha means face or mask or even maw. A mukha is an architectural or decorative motif that is placed above openings as a form of protection. It is also known as makara vakstra, and is often the central feature in the elaborate cloth door hanging known as a toran. A particular type is known as the Face of Glory or Kirtimukha. It is a demonic mask of great ferocity with protruding eyeballs, stout horns, and a gaping maw with prominent fangs or canine teeth. Kirtimukhas often appear above gates, dormer windows, archways and so on. They often have garlands or festoons issuing from the mouth. It is also referred to as Simha-mukha (lion-mask) in literature, and the stylized lion's face can be traced to the Persian lion-faces which appear for the first time in India on Mauryan (eg. Ashoka) pillar capitals. It is referred to as Grasamukha in western India, Rahumukha in eastern India, and as Kala in the Southeast Asian countries. It may be related to the Mask of Medusa as it was used in Greek and Roman architecture. Gorgon heads with their terrific faces were carved on gates and walls of forts, palaces, and temples to ward off enemies and other dangers. Similar decorative devices were also used by the Scythians, the Chinese, and appear all over the world. In Britain, for example, there is the Green Man mask hiding in corners of Gothic cathedrals. The Kirtimukha is generally considered symbolic of the destructive power of Shiva Mahabhairav (very wrathful) -- destroyer of demons. It is seen by Hindus as symbolic of the glory of divine power which generates creation but is also the source of destruction. For Buddhists it is a symbol of Impermanence -- the face of the demon grasping the Wheel of Samsara. However, alone, it is an auspicious mark of the activity of Dharma Protection. Some see in the Kirtimukha, the eclipse demon Rahu who had no body according to Indian mythology. Eclipses are almost never considered good omens and often are interpreted as portents of disaster. Considering the ancient homeopathic principle that we can treat "like with like" then we can understand why Kirtimukhas are believed to ward off evil, especially such forces of destruction as fire and earthquake. V. S. Agrawala says that kirti denotes an excavated chamber, and so Kirtimukha signifies its façade. ~ Rajaram Hegde on-line. Not available, Feb. 2005. Kirtimukha often appears as a subtle motif in the embroideries, and traditional Tibetan Buddhist hangings and banners that decorate shrine rooms and temples. For some, they still serve in a magical capacity to ward off evil, for others they are only an auspicious motif. Most people do not even realize the mask is there. http://www.khandro.net/mysterious_vyali_mukha.htm See: http://www.pittsburghts.org/downloads/winter2006.pdf The predator turning back on itself. Andrew Nesky At the center of creation lies a hunger – a predator intent on its next meal. Some have called it Ouroboros others have called it Kirtimukha (Face of Glory) - its significance is that in its last act of perfect hunger it begins to eat itself. What is this beast and what does it mean for us? Join Theosophical Society President Andrew Nesky for a Socratic investigation into… the hunger. Kirtimukha at Kasivisvesvara Temple at Lakkundi, Gadag district, Karnataka, India Kirtimukha above a Hindu temple entrance in Kathmandu, Nepal Kirtimukha (Sanskrit kīrtimukha, mistakenly also kīrttimukha, a bahuvrihi compound translating to "glorious face") is the name of a swallowing fierce monster face with huge fangs, and gaping mouth, quite common in the iconography of Indian and Southeast Asiantemple architecture. In Southeast Asia it is often referred to as Kala and in China it is known as T'ao t'ieh (Monster of Greed). Contents • 1Origin and characteristics • 2Gallery • 3See also • 4Notes • 5External links Origin and characteristics The word mukha in Sanskrit refers to the face while kīrti means "fame, glory". Kirtimukha has its origin in a legend from the Skanda Puranawhen Jalandhara, an all-devouring monster created from Shiva's third eye willingly ate his body starting by its tail as per Lord Shiva's order, who pleased with the result gave it the name face of glory. Some authors have compared the Kirtimukha myth with the Greek myth of Ouroboros. The Kirtimukha is often used as a decorative motif surmounting the pinnacle of a temple or the image of a deity, especially in South Indianarchitecture. This face is sometimes assimilated to, or confused with, another sculptural element, the lion face (Simhamukha). However, in order to be a Kirtimukha it has to be engaged in swallowing, for the Kirtimukha is the figure of the "all consuming" This monstrous face with bulging eyes sits also as an embellishment over the lintel of the gate to the inner sanctum in many Hindu temples signifying the reabsorption that marks the entry into the temple.[6] Mostly it is only a face, although in some places its arms are portrayed as well. The Kirtimukha as a decorative motif can be compared to the angels depicted on church lintels, representing the angel guarding the Garden of Eden as mentioned in Genesis 3:24.

Executive Summary श्रीवत्सः Śrī-vatsa hypertext explained 'child of wealth', metalworki. meḍhā 'curl' rebus mẽṛhẽt, meḍ ‘iron’, ayo 'fish' rebus: ayas 'metal', khambhaṛā ʻfin' rebus kammaṭa 'coinage, coin, mint' meḍhā 'endless knot' is an allograph, i.e.a hieroglyph which has the same plain text rendering as meḍhā 'curl, Śrivatsa' hieroglyph. Both hieroglyphs signify rebus: mēdhāˊमेधा 'dhanam, wealth.' Evidence is organized in the following sections: 1 Śrivatsa on the ear-rings worn by the cakravartin, Amaravati sculptures 2. Evolution of Śrivatsa hypertext 3. Links to Indus Script hieroglyph tradition 4. Ancient Burmese metalwork, mintwork silver coins with Srivatsa metaphors 5. Śrivatsa and Kaustubha 6. Ancient Near East Parallels 7. Resources for reconsctucting the Maritimje Tin Route Torana from Mathura and Mathura lion capital which incorporates many hieroglyph elements later to be found in Bharhut-Sanchi: Pair of tigers (lions?), molluscs, srivatsa, i.e. ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS khambhaṛā 'fish fin' rebus: kampaTTa 'mint' PLUS sippi 'shell' rebus: sippi 'artisan, sculptor, architect' meḍhā 'curl' rebus mẽṛhẽt, meḍ ‘iron’. kola 'tiger' rebus: kol 'working in iron' dula 'pair' rebus: dul 'metal casting'. Hieroglyph composition of spathe+ molluscs (curls) flanked by elephants. karabha, ibha 'elephant' rebus: karba, ib 'iron' PLUS meḍhā 'forked-stake' rebus mẽṛhẽt, meḍ ‘iron’ PLUS करडी [ karaḍī ] f करडई) Safflower: also its seed. Rebus: karaḍa 'hard alloy' (Marathi Lakshmi flanked by elephants. Divinity of wealth. Hieroglyphs: karabha, ibha 'elephant' rebus: karba, ib 'iron' (Santali) dula 'pair' rebus: dul 'cast metal'. Hence, dul ib 'cast iron'. Hieroglyph: spathe, buds flanked by molluscs -- atop a ring flanked by two petas, dala 'petal'. DhALako 'ingot' This monograph presents the evolution of the two hieroglyphs in Indus Script tradition. A vivid example of Sanchi stupa hypertext with hieroglyphs: Pair of fish-fin, fish tied by S-shaped curls, palm spathe Śrivatsa शिल्पकर्म [ śilpakarma ] is an Indus script hypertext which included meḍhā 'curl' hieroglyph which signifies meḍ 'iron'. Other hieroglyph components in the hypertext signify, 'iron mintwork' : ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'. khambhaṛā m. ʻ fin ʼrebus: kampaṭṭam, kammaṭa 'coinage, coin, mint'. dula 'pair' rebus: dul 'metal casting' दल dala 'petal' rebus: dhalako 'a large metal ingot (Gujarati) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati).sippi 'spathe of date palm' rebus: sippi 'artificer'. Dharma cakra. ariya sangha puja. This message is placed atop the ziggurat (dagoba, dhatugarbha) pedestal. Srivatsa atop Sanchi torana. The architect carries a garland in his left hand. The gloss is dāma a wreath or garland of fls. J i.397 (Pali); rebus: dhamma. The entire architecture of the Sanchi monuments is an offering, a puja by the sāṅgtarāś sangha. In his right hand is held ukkā; (dhamm -- okkā); ii.401; iv.291; v.322; Vism 428; ThA 287; DA i.148; DhA i.42, 205; PvA 154. Esp. as tiṇ˚ firebrand of dry grass M i.128, 365; Nd2 40Ie; DhA i.126; Sdhp 573. -- 2. a furnace or forge of a smith A i.210, 257; J vi.437. Rebus: he is dhammika (adj.) [=Sk. dharmya, cp. dhammiya] lawful, according to the Dh. or the rule; proper, fit, right; permitted, legitimate, justified; righteous, honourable, of good character, just, esp. an attr. of a righteous King (rājā cakkavattī dhammiko dhammarājā) D i.86; ii.16; A i.109=iii.149; J i.262, 263; def. by Bdhgh as "dhammaŋ caratī ti dh." (DA i.237) & "dhammena caratī ti dh., ñāyena samena pavattalī ti" (ib. 249). <-> Vin iv.284; D i.103; S ii.280 (dhammikā kathā); iii.240 (āhāra); iv.203 (dhammikā devā, adh˚ asurā); A i.75; iii.277; Sn 404; DhA ii.86 (dohaḷa); iv.185 (˚lābha); PvA 25 (=suddha, manohara). Also as saha -- dh˚ (esp. in conn. w. pañha, a justified, reasonable, proper question: D i.94; S iv.299 in detail) Vin iv.141; D i.161; iii.115; A i.174. -- a˚ unjust, illegal etc. Vin iv.285; S iv.203; A iii.243. (Source for the photograph: http://imagesvr.library.upenn.edu/a/aiis/thumb/A36-60.JPG) Sanchi Stupa Torana. sippi 'spathe of date palm' rebus: sippi 'artificer'. tāmarasa 'lotus' rebus: tāmra 'copper'. The lotus flanked by S-shaped curl pair: meḍhā 'curl' hieroglyph which signifies meḍ 'iron'; dula 'pair' rebus: dul 'metal casting'. I was stunned by the Bharhut and Sanchi toranas. The hieroglyphs which constituted proclamations on the gateways are recognizable as Indus Script hieroglyph-multiplexes (hypertexts). Tatsama and tadbhava words in a comparative lexicon of Bharatiya languages (e.g. Indian Lexicon), establish the reality of Bharatiya sprachbund. It appears mlecchita vikalpa wass based on a artificer-lapidary-metalwork lexis of Prakrtam (i.e., vAk, spoken form of Samskrtam). 1. tAmarasa 'lotus' (tAmra); sippi 'palm spathe, mollusc' (s'ilpi 'sculptor'); eraka (arka 'copper, gold'); aya 'fish' (aya, ayas 'iron') khambhaṛā ʻfinʼ (kammaTa 'coiner, coinage, mint (Kannada); kariba 'trunk of elephant' ibha 'elephant' (ib 'iron' karba 'iron' (Kannada). Hence the proclamation as an advertisement hoardings by the Begram dantakara (ivory carvers) who moved to Bhilsa topes. There is an epigraph in Sanchi stupa which records the donations of dantakara to the dhAtugarbha (dagoba, stupa). 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) शिल्प [ śilpa ] n (S) A manual or mechanical art, any handicraft.शिल्पकर्म [ śilpakarma ] n (S) Mechanical or manual business, artisanship. शिल्पकार [ śilpakāra ] m or शिल्पी m (S) An artisan, artificer, mechanic. शिल्पविद्या [ śilpavidyā ] f (S) Handicraft or art: as disting. from science. शिल्पशाला [ śilpaśālā ] f (S) A manufactory or workshop. शिल्पशास्त्र [ śilpaśāstra ] n (S) A treatise on mechanics or any handicraft. शिल्पी [ śilpī ] a (S) Relating to a mechanical profession or art.(Marathi) శిల్పము [ śilpamu ] ṣilpamu. [Skt.] n. An art, any manual or mechanical art. చిత్తరువు వ్రాయడము మొదలైనపని. శిల్పి or శిల్పకారుడు ṣilpi. n. An artist, artisan, artificer, mechanic, handicraftsman. పనివాడు. A painter, ముచ్చి. A carpenter, వడ్లంగి. A weaver, సాలెవాడు. (Usually) a stonecutter, a sculptor, కాసెవాడు. శిల్పిశాస్త్రము ṣilpi-ṣāstramu. n. A mechanical science; the science of Architecture. చిత్రాదికర్మలను గురించిన విధానము.(Telugu) சிப்பம்³ cippam, n. < šilpa. Architecture, statuary art, artistic fancy work; சிற்பம். கடி மலர்ச் சிப்பமும் (பெருங். உஞ்சைக். 34, 167).சிப்பியன் cippiyaṉ ,n. < šilpin. [T. cippevāḍu, K. cippiga, Tu. cippige.] 1. Fancy- worker, engraver; கம்மியன். (W.) 2. Tailor; தையற்காரன். (யாழ். அக.)சில்பி šilpi , n. < šilpin. See சிற்பி.சிலாவி³ cilāvi, n. prob. šilpin. Artisan; சிற்பி. சிற்பர் ciṟpar, n. < šilpa. Mechanics, artisans, stone-cutters; சிற்பிகள். (W.) சிற்பி ciṟpi, n. < šilpin. Mechanic, artisan, stone-cutter; கம்மியன். (சூடா.) 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 (CDIAL 13639). कर्मार [p= 259,3]m. an artisan , mechanic , artificer; a blacksmith &c RV. x , 72 , 2 AV. iii , 5 , 6 VS. Mn. iv , 215 &c Sanchi and Bharhut stupa reliefs on a torana. Two mahouts ride on two elephants. One mahour carries a flagpost with a standard of 'srivatsa' hieroglyphmultiplex. This has been explained as metalcraftsmanship. The entire frieze is devoted to cataloguing metalwork is reinforced by the following hieroglyphs shown on adjacent frames: 1. signifying metal ingot (ox-hide type); and 2. blacksmith at work in a smithy. In the context of the tāmrapaṭṭī ताम्र-पट्टी, the flanking srivatsa hieroglyph multiplex can be read rebus: aya'fish' rebus: aya, ayas 'iron, metal'; xolA 'tail' rebus: kolle 'blacksmith', kol 'working in iron', kole.l'smithy'. The srivatsa is: aya kole.l 'metal smithy'.

--Evidenced by Veda, śilpa, archaeology, Indus Script, āgama, numismatics, arhaeometallurgy, navanidhi Navanidhi, wealth-creation activities by artisans and workers of the Bronze Age Bhāratam are founded on the ādhyāmikā order of dharma: ಕಾಯಕವೇ ಕೈಲಾಸ (Basava) Bronze Age is characterised by the identification of nine dhātu elements, or minerls. Carbon as an element was also recognized by describing Śiva as अङ्गारक. Ekamukha linga, Bhūmāra, Madhya Pradesh. Three categories of ferrite ores -- magnetite, haematite, laterite -- were also recognized by describing Gaṇeśa as tri-dhātu. अङ्गारक, 'carbon' was a primary element which explained the hardening of metals to create hard alloys of utilitarian value. This element carbon a significant component of wealth-creation using minerals (products of earth -- earth and stones)--was perceived as aṣṭāśri yūpa eight-fold forms of śrī or wealth topped by a caṣāla. caṣāla, the ring atop the yūpa is orthographed as caṣāla, snout of a boar, carrying bhūdevi, mother Earth, and hence the veneration of varāha as signifier of all yajña-s and hence of the Veda tradition. The action of carbon in hardening minerals and metal alloys is orthographed as a cosmic dance, tāṇḍava nr̥tyam of Maheśvara integrating three forms: viṣṇu bhāga (quadrangular to signify vedi, fire-altar), rudra bhāga (octagonal to signify aṣṭāśri 'eight forms of wealth'), and brahma bhāga (adorned with caṣāla to signify the ninth creative process of infusing of rasa, carbon into minerals through the medium of fire of the furnace or smelter), thus creating nava-nidhi, nine wealths or treasures. This process evolves as rasa-vāda, 'science of alchemy, chemistry'. The combined form of viṣṇu bhāga rudra bhāga brahma bhāga is brilliantly iconographed in Airāvateśvara: Brahma as hamsa looks for the end of the fiery pillar in heavens, viṣṇu as varāha looks for the roots in the earth, of the fiery pillar, as Maheśvara emerges out of the Rudra bhāga. This ādhyātmikā expression in iconography is unparalleled brilliant representation in a joint enterprise by an artisan, śilpi, and a Brāhmaṇa expounding the Veda Indications of this thought-process creating iconic forms out of aniconic octagonal rudra bhāga the iconography of Śiva linga combines signifiers of all three divine entities: brahma, Śiva and Viṣṇu Combination of iconic form of mukha 'face' and jaṭā signifying caṣāla,'wheat chaff' provide the added rebus renderings in a Śiva linga with personification of mukha 'face' rebus: mũh 'ingot, quantity of metal taken out of a furnace'. This evolution of iconic form attains the pinnacle of ādhyātmikā expression in the form of the cosmic dancer. (Naṭarāja carries अङ्गारक, 'carbon' on his left arm, as his fiery locks of hair flow like godhūma, 'wheat chaff' caṣāla). navan नवन् num. a. (always pl.). Nine; नवतिं नवाधिकाम् R.3.69; see comp. below. (At the begining of comp. नवन् drops its final न्). -Comp. -ग्रहाः m. (pl.) the nine planets. (the sun, the moon, 5 planets, राहु and केतु; see under ग्रह. -चण्डिका f. the nine चण्डिकाs (शैलपुत्री, ब्रह्मचारिणी, चन्द्रघण्टा, कूष्माण्डा, स्कन्द- माता, कात्यायनी, महागौरी, कालरात्रि, सिद्धिदा); Chaṇḍī Pāṭha. -दुर्गा Durgā in her nine forms. i. e. (कुमारिका, त्रिमूर्ति, कल्याणी, रोहिणी, काली, चण्डिका, शांभवी, दुर्गा, भद्रा). -धातु m. Nine metals; हेमतारारनागाश्च ताम्ररङ्गे च तीक्ष्णकम् । कांस्यकं कान्तलोहं च धातवो नव कीर्तिताः ॥, -निधि m. (pl.) the nine treasures of Kubera. i. e. महापद्मश्च पद्मश्च शङ्खो मकरकच्छपौ । मुकुन्दकुन्द- नीलाश्च खर्वश्च निधयो नव ॥ (Apte. Samskrtam) धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3.; constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf. त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c; Rebus: element , primitive matter (= महा-भूत L. ) MBh. Hariv. &c (usually reckoned as 5 , viz. ख or आकाश , अनिल , तेजस् , जल , भू; to which is added ब्रह्म Ya1jn5. iii , 145 ; or विज्ञान Buddh. ); primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e.grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]). ... Links in Archaeology and Iconography/Numismatics 1. Discovery of octagonal yupa in Binjor, Śivalinga-s in Harappa 2. Sri Rama (Vishnu) blowing a conch 3. Sri Krishna and Sri Balarama on ancient coins cf. https://www.academia.edu/25807197/Emergence_of_Vi%E1%B9%A3%E1%B9%87u_and_%C5%9Aiva_Images_in_India_Numismatic_and_Sculptural_Evidence Emergence of Viṣṇu and Śiva Images in India: Numismatic and Sculptural Evidence by Osmund Bopearachchi (2016) Vishnu on Garuda, 5th century. Red terracotta, 12 1/4 x 14 3/4 x 7 1/2 in. (31.1 x 37.5 x 19.1 cm). Brooklyn Museum This terracotta panel once decorated the exterior of a brick temple. It shows Vishnu riding Garuda into battle, blowing his conch and holding what appears to be an archer’s bow. Even in its current condition, the relief captures the dynamism of the scene. Garuda has been represented in a kind of shorthand, with just a head and wings. The identity of the smaller figure—also apparently riding on Garuda and preparing to shoot an arrow—remains unclear. MEDIUM Red terracotta • Place Made: Northern, Uttar Pradesh, India DATES 5th century PERIOD Gupta Period DIMENSIONS 12 1/4 x 14 3/4 x 7 1/2 in. (31.1 x 37.5 x 19.1 cm) ACCESSION NUMBER 73.124 https://www.brooklynmuseum.org/opencollection/objects/3830 Vishnu’s fight with the Rakshasas led by Malyavaan, Maali and Sumaali narrated in Uttarakanda of Ramayana (Canto VI-VIII). Terracotta panel from Bhitargaon.Shows a Ramayana scene. The terracotta plaque reproduced above is now housed in the Brooklyn Museum, U.S.A. On stylistic grounds it can be ascribed to the fifth century and & also be presumed to have originally belonged to the brick temple of Bhitargaon, Kanpur District, Uttar Pradesh. The plaque has been described by Dr. Army Poster (Figures in Clays from Ancient India, No. 52, Brooklyn, 1973) and by Dr. Pratapaditya Pal (The Ideal Image: The Gupta Sculptural Tradition and Its Influence, Fig. 28, p.81, the Asiatic Society, Inc. 1978). Cf. P Banerjee http://ignca.nic.in/pb0020.htm Narration as follows: [quote] There was a powerful Rakshasa, called Sukesa, who was a great favourite of Siva. Sukesa had three sons called Malyavan, Mali and Sumali. Proud of the boons they received from Brahma and Siva, they became insolent and began to harass the gods. To seek redress, the latter came to Siva and sought his refuge. Because of his soft feelings towards Sukesa, Siva expressed his inability to take any stern action against his (Sukesa’s) sons and directed them (the gods) to go to Vishnu to seek his protection. The gods, as directed by Siva, came to Vishnu eulogised his greatness and sought his protection against the atrocities of Malayavan, Mali and Sumali and their Rakshasa followers. Vishnu, pleased with the prayers of the gods, assured them that he would soon make short work of the Rakshasas. The gods then left for their respective abodes. Having come to know of Vishnu’s assurance to the gods, Malyavan, Mali and Sumali flew into rage and summoned their forces to attack the gods. The Rakshasa troops moved under Mali’s leadership. Informed of the movement of the Rakshasas, Vishnu also became ready to fight with them. He put on his celestial armour shining like the sun, equipped him-self with a pair of quivers full of arrows and also his other weapons, the conch, the discus, the mace, the sarnga bow and the sword. And then mounting on his beautifully feathered vehicle, the Garuda, he set out to destroy the Rakshasas. A grim battle ensued between Vishnu and the Rakshasas. With the blast of his wings, Garuda shook the army of the ogres, brought down their banners and displaced their weapons. The Rakshasas in their hundreds surrounded Narayana-Vishnu and afflicted him with volleys of missiles. To foil their efforts, Vishnu discharged sharp arrows on them from his Sarnga bow whose strings he pulled to the extreme length. Dispersing the Rakshasas by his arrows, Vishnu blew his great conch Panchajanya, the sound of which shook the three worlds and struck terror into the heart of the Rakshasas. Pierced by Vishnu’s darts, the Rakshasas fell in hundreds and thousands on the battlefield. The sound of the Panchajanya and the twang of his bow drowned the cries of the Rakshasas. At the end, Vishnu cut off the head of Mali with his chakra. Seized with fear, Malyavan and Sumali, with the remnants of their forces fled towards Lanka. ... Links in Archaeology and Iconography/Numismatics 1. Discovery of octagonal yupa in Binjor, Śivalinga-s in Harappa 2. Sri Rama (Vishnu) blowing a conch 3. Sri Krishna and Sri Balarama on ancient coins cf. https://www.academia.edu/25807197/Emergence_of_Vi%E1%B9%A3%E1%B9%87u_and_%C5%9Aiva_Images_in_India_Numismatic_and_Sculptural_Evidence Emergence of Viṣṇu and Śiva Images in India: Numismatic and Sculptural Evidence by Osmund Bopearachchi (2016)

Gangga sudhi, ‘purification by Ganga’ This monograph is about the link provided by dharma-dhamma to an inquiry into the meanings (artha, significance) of the bhasmarati of Ujjain Jyotirlinga Mahakala, the veneration of dagobas, Indus Script hieroglyph-multiplexes in iconography of ancient temples of Hindu civilization tradition. This is dedicated to Prof. Shrinivas Tilak. Shrinivas’ guidance is ādeśa for me. He suggested that Indus Script can be deciphered beyond the mere metalwork lexis into the gestalt of our ancestors. In tantra yukti traditions of research methodology followed by Panini and Caraka, lokokti is to be complemented by lokottara yukti, the real intent of the speaker behind his or her words. Lexis is but an instrument for conveying thought and knowledge, transiting from the mundane to the transcendent. I find that the traditions initiated by Indus Script Cipher extended into metaphors of hieroglyph-multiplexes (or symbolic hypertexts to use the expression of Dennys Frenez and Massimo Vidale) signified in icons and temples of worship from very ancient times. It is a tough task indeed to date the start of the temple tradition in ancient India. This task cannot be wished away and has to be undertaken by students of civilization studies. Dharma-dhamma, esha dhammo sanantano, are defined as upholding principles handed down from ancient times, of the cosmic-consciousness order. Why does the tradition hold that a bath in the Ganga is a sacred, purifying act for pilgrims? I will not venture into answering this question but trace some evidences attested linguistically, iconographically and archaeologically. The ancient literary texts of Indian sprachbund are treasured in over 1 million manuscripts which have to be unraveled,. A beginning has been made with the task of compiling Catalogus Catalogorum of Ancient Manuscripts of Indian sprachbund (language speech union). This task is monumental like the Ellora or Ajanta monuments which convey profound messages of our ancestors. The messages conveyed through Indus Script Corpora are also monumental and provide a lexis of metalwork of ancient Bharatam Janam, ‘metalcaster folk’. The vahana of Ganga is Makara. Why Makara? Makara is a hieroglyph-multiplex with components: crocodile, fish, elephant, tiger. KharA ‘crocodile’ rebus: khAr ‘blacksmith’; aya ‘fish’ rebus: aya ‘iron, metal’; karibha ‘trunk of elephant’ rebus: karba ‘iron’ ib ‘iron’; kola ‘tiger’ rebus: kol ‘working in iron’ kolle ‘blacksmith’ kole.l ‘smithy, temple’. Thus, Makara is a temple, a smithy on the banks of ganga, ‘river’. This explains the evidence that, out of 2600 archaeological sites, over 2000 sites are on the banks of Himalayan river Sarasvati and ‘civilization’ is dateable from ca. 8th millennium BCE in the Sarasvati-Ganga doab river basins. Ganga. Makara. Ivory. Begram 1st-2nd cent. BCE This statuette once decorated a piece of wooden furniture that turned to dust. The woman may represent the Indian river goddess Ganga, whose mount is the mythological makara, a creature that is part crocodile, part elephant, and part fish. 1008 Lingas carved on a rock surface at the shore of theTungabhadra River, Hampi, India sahastra linga: Kbal Spean. (ក្បាលស្ពាន) Angkor, Cambodia alaninsingapore.blogspot.ae Why Gangga sudhi? Why Sivalinga? Why bhasmarati for a Jyotirlinga? Are the six Harappa sivalinga stones the earliest manifestations? Are the two stone pillars of Dholavira the Skambha fiery pillars of light? Beyond mere speculative excursus, it is possible to trace the roots from the lexis of Indian sprachbund with the start provided by the metalwork lexis provided by Indus Script Corpora. Both Mekong and Ganga are Himalayan rivers sourced from the glaciers of nagadhiraja and flow, perennially, as jivanadi, for over 2000 kms. The great rivers sustain the lives of a billion people of the rashtram. Both Mekong and Ganga are etymologically traceable to the root kong- ‘river’. A hieroglyph which signifies this gloss of Meluhha lexis is kanga ‘eye’ (Pe.) The expression Gangga sudhi recorded in the Candi Sukuh inscription on the monolithic Sivalinga (over 6 feet tall) is composed of the two words: Gangga and Sudhi. What do these words mean when combined together into an expression denoting the veneration of ancestors in a shraddham? The Candi Sukuh inscription on the Sivalinga also has a hieroglyph: khaNDa, ‘sword’ rebus: kanda ‘implements’ kanda ‘fire-altar’. kándu f. ʻ iron pot ʼ Suśr., °uka -- m. ʻ saucepan ʼ.Pk. kaṁdu -- , kaṁḍu -- m.f. ʻ cooking pot ʼ; K. kō̃da f. ʻ potter's kiln, lime or brick kiln ʼ; -- ext. with -- ḍa -- : K. kã̄dur m. ʻ oven ʼ. -- Deriv. Pk. kaṁḍua -- ʻ sweetseller ʼ (< *kānduka -- ?); H. kã̄dū m. ʻ a caste that makes sweetmeats ʼ. (CDIAL 2726) Shraddhm is a process of venerating the memory of ancestors who have given us our identity and a process of enquiring into our roots. This is indeed a process of purification of our attitudes, an understanding of our locus as sentient beings realizing the imperative of leading lives of satyam and rtam for abhyudayam of the rashtram, the lighted path of progress. This shraddham is sudhi. Sudhi has two meanings: ‘purity’ and ‘knowledge’. This is comparable and analogous to the two meanings of the word, artha. Artha has two meanings: ‘material wealth’ and ‘meaning’. Artisans of yore find that mere earth and stone yield metals which could be forged into implements used for life-activities. Mere earth and stone mediated by the Sun and fire in a fire-altar get purified into metals. The word to signify the instrument used to create this awe-inspiring wonderful process is: kanga ‘brazier’. Hieroglyph kanga ‘eye’ rebus: kanga ‘brazier’. The brazier purifies dhatu, elements, minerals, earth and stone to yield muhA, ‘metal ingots’ from the blazing pillars of light from the brazier, smelter muhA is signified by the hieroglyph muh ‘face’. The knowledge gained that fire purifies mere earth and stone to produce metal from the crucible is a revelation. This knowledge is sudhi. This process is sudhi, ‘process of purification’. The Candi Sukuh artisans have explained and proclaimed through the inscription and the hieroglyph-multiplex of the Candi Sukuh Sivalinga, hypertext expression: gangga sudhi, rebus kanga sudhi, ‘brazier purification’. I suggest that the same process of gangga sudhi is enacted every day morning in the bhasmarati of Ujjain Jyotirlinga Mahakala. The use of bhasma is a veneration of the ancestors who are also venerated in the dhatugarbha, dagobas which are now Vaishya tekri and Kumbhar tekri in Ujjain as stupa mounds. The dagobas are also temples with the living dhatu, ‘elements, minerals, mere earth and stone’ which had yielded the metals and ingots of hard alloys in crucibles. The yielkds are muhA signified by the creation by the purifier priests, Potr of the mandiram of a face of the hunter-warrior with three eyes on the Sivalinga. The face of the hunter-warrior so created denotes: muh ‘face’ kanga ‘eye’ kolmo ‘three’ Rebus: muh ‘ingots’, kanga ‘brazier’, kolimi ‘smithy, forge’. This reenactment of the smelting smithy processes takes place every day as bhasmarati in the Jyotirlinga temple as a process of purification of the minds, the atman of the worshippers mediated by the Potr, purifying priests The Sivalinga itself is a metaphor for the Kailasa parvatam, the Himalayan peak where sits in penance, Isvara yielding the life-sustaining waters out of the locks of his hair. This Kailasanatha is jatadhara who holds the waters in the locks of his hair and releases the waters for abhyudayam of the rashtram. This realization, this understanding results in the perpetual abhishekjam of the sivalinga in all temples of the globe with dripping waters in perpetuity venerating the water-giving divinity, Isvara; hence, life-giving divinity. This paramaatman is celebrated in the bhasmarati performed daily bringing the bhasma from the vicinity of the dagoba-s. Bhasmarati is the message of gangga sudhi, purification of atman in the life-journey from Being to Becoming, from every atman trying to reach out and unite with the paramatman. This awe-inspiring spectacle is a mirror process of the equally awe-inspiring results of smelting yielding metals from mere dhatu, ‘minerals, earth and stone.’ As an extended metaphor, this bhasmarati becomes a replication of the Cosmic Dance of Isvara, Nataraja in his tandava nrtyam. The artisans of yore have documented their processes of metalwork on over 7000 inscriptions of Indus Script Corpora. The people of today venerate the processes in the temples of Ujjain, Gudimallam, Candi Sukuh and thousands of other mandirams of Indian sprachbund such as the temples in My Son, Vietnam or Angkor Wat, Cambodia. Gangga sudhi is thus a purification process based on the knowledge that paramaatman is the supreme divine who accounts for the phenomena witnessed by the metalwork. Candi Sukuh is a metalwork celebration. So is bhasmarati. So are the dagobas, dhatugarbha temples, venerating the ancestor artisans who have left for us a heritage from the tin-bronze, cire perdue metal casting revolutions of the Bronze Age. This is a narrative traceable from ca. 8th millennium BCE on the banks of Himalayan rivers and in the contact civilization areas extending from Hanoi in Vietnam to Haifa in Israel. This can also be called the ancient maritime tin route leading to the Silk Road which united the peoples of Eurasia. Bhasmārati at Ujjain, veneration at stupa mounds https://www.youtube.com/watch?v=JuIQ57qswb0 (1:26:54) Bhasma Aarti Shri Mahakal Jyotirling Temple Ujjain with Shringar, Poojan, & Aarti Published on Jan 13, 2013. An entrancing puja tradition unparallelked in any civilization of any time. This puja performed for 1 hr. 25 mins. is a metaphor of the cosmic dance of Isvara, rendered through the creation of the hieroglyph-multiplex face of Mahākāla, celebrating the mirroring of the smelting processes.

At the outset, I am grateful to the scholars of Mythic Society, Bengaluru—Prof. Adiga Sundara, Former Head of Department of Archaeology & Ancient History, Karnataka University, Dharwad, Dr. Ragotham Sundararajan, Dr. Jayasimha, Dr. Karthik -- for the insights provided by them on the significance of the expression Tridhātu in bhāratiya tradition, citing for my guidance, remarkable references from Kannada literature and ancient texts. This monograph presents the roots of the sacred association of Gaṇeśa with Tridhātu from the evidences provided by Sarasvati-Sindhu (Indus) Script Corpora and relates it to Sayaṇa's interpretation of Tridhātu in a R̥gveda R̥ca (RV 1.154.4). pr̥thvyaptejorūpadhātu (R̥gveda) makes the expression of Sayaṇa an ādhyātmikā metaphor. This monograph presents the roots of the sacred association of Gaṇeśa with Tridhātu from the evidences provided by Sarasvati-Sindhu (Indus) Script Corpora and relates it to Sayana's interpretation of Tridhātu in a R̥gveda R̥ca (RV 1.154.4) as pr̥thvyaptejorūpadhātu (R̥gveda) makes the expression an ādhyātmikā metaphor. The detailed evidences provided principally relate to metalwork resources of ferrite minerals, processing of crucible steel and creation of hypertext expression by combining body parts to expand hieroglyph compositions into a hypertext as shown on Dholkal Gaṇeśa, with clear intimations of metalwork: Gaṇeśa wears a steel chain and holds a kaṇḍe 'pinecone' rebus: kaṇḍa 'metal implements' on his hand. Dholkal Gaṇeśa of Chattisgarh with extraordinary hieroglyphs used in the pratimā. Association with the assur, 'smelter' tradition links this mūrti with the metalwork traditions traceable to Sarasvati-Sindhu civilization. Chattisgarh is the ironore and mineral part of Bhāratam. Bhāratiya Itihāsa traditions link Gaṇeśa to Śiva and Pārvati (daughter of Himavan, Himalayan mountain, hence associatd with mr̥t 'earth' used to form Gaṇeśa pratimā for worship). Just as Gaṇeśa is traced to Sarasvati-Sindhu script traditions of hieroglyph/hypertext cipher (Meluhha cipher of Mlecchita vikalpa), Śiva is traced to the presence of Śivalingas in Harappa and the find of an octagonal pillar in a yajna kunda in Binjor. The rudrabhāga of Śivalinga which is octagonal in shape is traceable to this octagonal pillar evidenced in Binjor which is in consonance with the R̥gveda tradition of installing a ketu, 'emblem' proclaiming the performance of a yajna, a Soma yajna in particular. The same tradition is seen in 19 Yupas which are octagonal and with Yupa inscriptions in Rajasthan historical sites, Allahabad, Mathura, East Borneo (Mulavarman). The trace to R̥gveda tradition is attested in greate detail in Satapatha Brahmana which describes the details of the yupa and caṣāla (which is godhuma, 'wheat chaff'. caṣāla infuses carbon into the metal processed in a yajna kunda making the metal hard by a process carburization in metallurgy. Thus, element carbon enters the elements of the mineral ores in specific metals or metal alloys. In 1940, archaeologist M.S. Vats discovered three Shiva Lingas at Harappa, dating more than 5,000 years old. This rare archival photo shows that ancient Shiva Linga as it was being excavated from the Harappa site. Lingam, grey sandstone in situ, Harappa, Trench Ai, Mound F, Pl. X (c) (After Vats). "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I... in this jar, six lingams were found along with some tiny pieces of shell, a unicorn seal, an oblong grey sandstone block with polished surface, five stone pestles, a stone palette, and a block of chalcedony..." (Vats,MS, Excavations at Harappa, p. 370) Two decorated bases and a lingam, Mohenjodaro. After Fig. 8.305 RS Bisht. Dholavira. Details of free standing columns. Five-headed Mukhalinga embedded in a yoni;Budanilkantha, Nepal Photograph from Malleret, L., L'archaeologie du delta du Mekong, Paris, 1959; Ekamukhalinga from JaiyA, National Museum, Bangkok Ekamukhalinga from Vat Sak Sampou “The JaiyA ekamukhalinga is divided into three parts in accordance with the prescriptions in the Siva Agamas. The base, BrahmabhAga, is cubic in form and is 47.8 cms. High. The middle section, the ViSNubhAga, is octagonal in shape and is approximately 43 cm. High. The topmost section, the RudrabhAga, is cylindrical and is approximately 51 cms high, while the superimposed face measures 29.5 cms from the bottom of the chin to the top of the jaTA. The two lower sections of the linga would not normally be visible, since they would be enclosed in the pedestal (pIThikA)...One of the singular features of these pre-Angkorian mukhalingas is the fusing of the jaTA with the filet on the gland of the RudrabhAga (fig.2)...There is, however, an ekamukhalinga from Vat Sak Sampou (fig. 3) which displays a coiffure which is very muh like that worn on the JaiyA linga.” (O'Connor, SJ, 1961, An ekamukhalinga from Peninsular Siam, The Journal of the Siam Society. The Siam Society. pp. 43-49). http://www.siameseheritage.org/jsspdf/1961/JSS_054_1e_OConnor_EkamukhalingaFromPeninsularSiam.pdf Linga with One Face of Shiva (Ekamukhalinga), Mon–Dvaravati period, 7th–early 8th century. Thailand (Phetchabun Province, Si Thep) Stone; H. 55 1/8 in. Octagonal form of ViSNubhAga and the occurrence of pancamukhalinga is consistent with the tradition of pancaloha 'five dhAtu or five mineral alloy' images as utsavaberas. I suggest that the mukha on the linga is read rebus from the hieroglyph: mũh 'a face' Rebus: mũh,muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' This reaffirms the association of the octagonal brick of Binjor fire-altar with the Skambha as linga or vajra which participates in the process of smelting dhAtu, 'ores'. Face on Bhuteswar sivalinga & face with body of a hunter on Gudimallam sivalinga Worship of Shiva Linga by Gandharvas - Shunga Period - Bhuteshwar - ACCN 3625 This is worship by kharva 'dwarfs' gaNa of Siva, celebrating Kubera's nidhi also called kharva Rebus: karb 'iron' (Tulu) Relief with Ekamukha linga. Mathura. 1st cent. CE Worship of a fiery pillar,Amaravati Naga worshippers of fiery pillar, Amaravati stupa Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher signifies: tamba, tã̄bṛā, tambira 'copper' On top of the skambha are fish-fins linked together: Hieroglyph: khambhaṛā 'fish-fin' rebus: kammaTa 'mint, coiner, coinage' . Cobra hood: phaNi 'cobra hood' rebus; phaNi 'lead or zinc'; paNi 'merchant, marketplace'.meḍ 'step' rebus: meḍ 'iron'

Together with the hieroglyph which signifies 'fish' (ayo 'fish' rebus: aya 'alloy metal'), another vivid hieroglyph, 'standing person with two legs spread out' is frequently used in inscriptions of the metalwork catalogues. This monograph attempts to narrow down the semantics of this 'spread legs' hieroglyph in the context of hypertext expressions to document metalwork. At least 40 ligatured hypertexts are identified with the 'spread legs' hieroglyphs as the reference frame. Harappa miniature tablet, two sides (size of a thumbnail) Hieroglyph: mēd 'body', standing person, कर्णक karṇaka 'spread legs', kāṭi 'body stature' Signs 3, 32, 41, 42, 43, 44 are hypertext expressions with ligatures on Sign 1. These six hypertexts (in particular, variants Sign 32 and Sign 44) seem to focus on the semantics 'spread legs' with Sign 44 showing the spread legs in a 'dancestep'. Other hypertexts are formed with the frame of Sign 1 as the base as shown on Signs 4 to 8 etc. (See table of Sign 1 based hypertexts) When the semantics of कर्णक karṇaka 'spread legs' Rebus: karṇika 'steersman' apply to the hypertext, the functionary may be a guild-master of cirular workers' platforms working with metals and alloys (like steersman or helmsman of a cargo ship). IT is possible that the two other alternative meanings of the same hieroglyph framework may be semantic determinants such mēd 'body',rebus: mēd 'iron' ORkāṭi 'body stature' rebus: kāṭi 'fire-trench'. Ligatures: water-carrier + notch Sign 13: kuṭi ‘water-carrier’ Rebus: kuṭhi ‘smelter/furnace’+ कर्णक karṇaka 'spread legs' Rebus: karṇika 'steersman' [Alternative: kāṭi 'body stature; Rebus: fireplace trench]. + खांडा [ khāṇḍā] m A jag, notch, or indentation (as upon the edge of a tool or weapon)(Marathi). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) + कर्णक karṇaka 'spread legs' Rebus: karṇika 'steersman' Alternative: kāṭi 'body stature; Rebus: fireplace trench. + कर्णक karṇaka 'spread legs' Rebus: karṇika 'steersman' [Alternative: kāṭi 'body =stature; Rebus: fireplace trench.] Thus, smelter-metalware-steersman OR smelter-furnace metalware. Ta. mēṉi body, shape, colour, beauty; mēl body. Ma. mēni body, shape, beauty, excellence; mēl body. Koḍ. me·lï body. Te. mēnu id.; mēni brilliancy, lustre; belonging to the body, bodily, personal. Kol. me·n (pl. me·nḍl) body. Nk. mēn (pl. mēnuḷ) id. Nk. (Ch.) mēn id. Pa. mēn (pl. mēnul) id. Ga. (S.) mēnu (pl. mēngil), (P.) mēn id. Go. (Tr.) mēndur (obl. mēnduḍ-), (A. Y. W. M.) mēndul, (L.) meṇḍū˘l, (SR.) meṇḍol id. (Voc. 2963). Konḍa mēndol human body. Kur. mē̃d, mēd body, womb, back. Malt. méth body. (DEDR 5099) mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ] Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭā, mẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10319) कर्णक karṇaka [p= 257,2] m. du. the two legs spread out AV. xx , 133 , 3 कर्णक [p= 257,2] m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; Wg. kaṇə ʻ ear -- ring ʼ NTS xvii 266; S. kano m. ʻ rim, border ʼ; P. kannā m. ʻ obtuse angle of a kite ʼ (→ H. kannā m. ʻ edge, rim, handle ʼ); N. kānu ʻ end of a rope for supporting a burden ʼ; B. kāṇā ʻ brim of a cup ʼ, G. kānɔ m.; M. kānā m. ʻ touch -- hole of a gun ʼ.(CDIAL 2831) कर्णक [p= 257,2] a tendril S3Br. Ka1tyS3r.f. the pericarp of a lotus MBh. BhP. &c kárṇikā f. ʻ round protuberance ʼ Suśr., ʻ pericarp of a lotus ʼ MBh., ʻ ear -- ring ʼ Kathās. [kárṇa -- ] Pa. kaṇṇikā -- f. ʻ ear ornament, pericarp of lotus, corner of upper story, sheaf in form of a pinnacle ʼ; Pk. kaṇṇiā -- f. ʻ corner, pericarp of lotus ʼ; Paš. kanīˊ ʻ corner ʼ; S. kanī f. ʻ border ʼ, L. P. kannī f. (→ H. kannī f.); WPah. bhal. kanni f. ʻ yarn used for the border of cloth in weaving ʼ; B. kāṇī ʻ ornamental swelling out in a vessel ʼ, Or. kānī ʻ corner of a cloth ʼ; H. kaniyã̄ f. ʻ lap ʼ; G. kānī f. ʻ border of a garment tucked up ʼ; M. kānī f. ʻ loop of a tie -- rope ʼ; Si. käni, kän ʻ sheaf in the form of a pinnacle, housetop ʼ.(CDIAL 2849) कर्णिक karṇika a.. Having a helm. -कः A steersman. కర్ణము (p. 253) karṇamu karṇamu. [Skt.] n. The helm of a ship చుక్కాని. కర్ణధారుడు karṇa-dhāruḍu. A helmsman or steers-man. ఓడనడుపువాడు. karṇadhāra m. ʻ helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1] Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2836) கர்ணம்² karṇam , n. < karaṇa. 1. Village accountantship; கிராமக்கணக்குவேலை. 2. Village accountant; கிராமக்கணக்கன். kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ] Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister,supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.(CDIAL 3058) Table: Sign 1 PLUS Sign 1 based hypertexts Ligature: Stool or plank/seat Sign 43: Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'fire-altar' (SOR for metals in mint. Thus, fire-altar metalware furnace. Ligature: crab, claws Sign 36: कर्णक karṇaka 'spread legs' Rebus: karṇika 'steersman' OR kāṭi 'body stature; Rebus: fireplace trench. Thus, steersman OR furnace for metals in mint + kamaḍha ‘crab’ Rebus: kammaṭa ‘mint, coiner’. ḍato = claws of crab (Santali) Rebus: dhātu ‘mineral ore’. Thus mineral ore mint, coiner. Archer. Ligature one bow-and-arrow hieroglyph kamaḍha ‘archer, bow’ Rebus: kammaṭa ‘mint, coiner’. + कर्णक karṇaka 'spread legs' Rebus: karṇika 'steersman' Alternative: kāṭi 'body stature; Rebus: fireplace trench. Thus, steersman OR furnace for metals in mint. Sign 29 Archer. Ligature two bow-and-arrow hieroglyphs kamaḍha ‘archer, bow’ Rebus: kammaṭa ‘mint, coiner’. dula 'two' Rebu: dul 'cast metal'. Thus metal castings mint. + कर्णक karṇaka 'spread legs' Rebus: karṇika 'steersman' Alternative: kāṭi 'body stature; Rebus: fireplace trench. Thus, steersman OR furnace for metal castings in mint. Ligature hieroglyph: 'lid of pot' aḍaren ‘lid of pot’ Rebus: aduru ‘unsmelted, native metal’ + कर्णक karṇaka 'spread legs' Rebus: karṇika 'steersman' Alternative: kāṭi 'body stature; Rebus: fireplace trench. Thus steersman OR furnace for aduru, unsmelted, native metal. Ligature 'two spoked wheels' Spokes-of-wheel, nave-of-wheel āra 'spokes' Rebus: āra ‘brass’. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) Glyph: eraka’nave of wheel’ Rebus: eraka ‘copper’; cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) dula 'two' Rebus: dul 'cast metal'. Thus, moltencast copper castings + कर्णक karṇaka 'spread legs' Rebus: karṇika 'steersman' Alternative kāṭi 'body stature; Rebus: fireplace trench. Thus, steersman OR furnace for copper metal castings. ... Conclusion 1: karṇaka कर्णक, 'two legs spread out' signifies rebus karṇika 'helmsman' 'guild-master' on Indus Script Corpora inscriptions’ Conclusion 2: karṇaka कर्णक, 'rim-of-jar’ signifies rebus karṇi ‘supercargo’ on Indus Script Corpora inscriptions कुळकरणी (p. 100) kuḷakaraṇī m (कुल & कारणी S) An officer of a village under the पांटील. His business is to keep the accounts of the cultivators with Government and all the public records.

The monograph is presented with evidences of Harappa Script hieroglyphs in the following sections to elucidate the functions of Skambha described in Atharva Veda and provide indicators to the significance of Lingodbhava (Somaskanda), as a fiery pillar of light and flames, an infinite cosmic pillar, without beginning and without end as the pillar reaches into the heavens, ethereal space. The functions of the Skambha are 1. to infuse carbon into the metals in the sacred fire-altar and 2.to render the furnaced/smelted alloy hard. Lingodbhava is a metaphor for the emergence of alloyed metal with exchange value, as wealth after purificatory processes are mediated by the paramātman transforming mere earth and stones into material wealth in medha, 'yajña'. Section 1. Fiery pillar of Amaravati and related hieroglyphs Section 2. Ear-rings of Satavahana era Cakravartin with khambhaṛā 'fish-fins' and other related hieroglyphs Section 3. Ox-hide ingot and spoked-wheel on pillars signify metalwork products Section 4. Hieroglyphs of horse and elephant flanking the Cakravartin signify gold-braid edgings and iron (cast) work Section 5. Semantic expansion of Skambha (fiery pillar) with ekamukha Section 6. Semantic expansion of Skambha (fiery pillar) with pratimā Section 7. Skambha Sukta AV (X.7,8) is an ādhyātmikā excursus into ātman and link with paramātman Section 1. Fiery pillar of Amaravati and related hieroglyphs Asian civilisations Museum, Singapore. Sculptural fragment, showing the adoration of a fiery pillar. India, 3rd century, limestone. On loan from the Archaeological Survey of India, New Delhi https://www.buddhistdoor.net/features/the-new-ancient-religions-gallery-at-the-asian-civilisations-museum-singapore The key to decipherment of Harappa Script hieroglyphs is the hypertext atop the pillar. The hypertext also occurs on many artifacts as detailed below. The orthographic composition of the hypertext is to join together two fish-fins, with the tails of fish (or, caudal fins) pointing upwards. The word for fish-fin and other expressions of the hypertext are: khambhaṛā 'fish-fin' rebus kammaTa 'mint, coiner, coinage'. ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' dula 'pair' rebus: dul 'metal casting'. These are orthographic, sculptural signifiers of the texts of Rigveda, Taittiriya Samhita and Satapatha Brahmana (relevant excerpts of texts are embedded) which describe in detail the functions performed by a fiery Skambha in the yajña(Soma Samsthā) for infusion of carbon and carburization of minerals in a fire-altar, producing bahusuvarṇaka 'gold and wealth'. Naga worshippers of fiery pillar, Amaravati stup Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. kulā 'hood of serpent' rebus: kolle 'blacksmith' kol 'working in iron' kole.l 'temple' rebus: kole.l 'smithy, forge'. Railing crossbar with monks worshiping a fiery pillar, an aniconic linga. Amaravati Another view of the Amaravati medallion British Museum. The Harappa Script hieroglyph atop the fiery pillar of Amaravati compares with similar hieroglyphs on Bharhut and Sanchi Torana (Gateways). There is an expression in Mahavamsa for such a hieroglyph: The expression in Pali is: ayo kammaTa dvAra, 'metal mint gateway'. cf. Mahavamsa, XXV, 28, ayo-kammata-dvara, "iron studded gate " The top medallion of Bharhut stupa shows nAga venerating a blazing pillar of light: yupa.. Bharhut. Torana. Northern Gateway Sanchi Stupa. Torana. The Harappa Script hieroglyph is a phonetic determinant for kammaTa 'mint'. The hieroglyph is orthographed with the fish-fins of a pair of fish, with the tail-fins pointing upwards. The expressions for the hieroglyph multiplex are: khambhaṛā 'fish-fin' rebus kammaTa 'mint, coiner, coinage'. ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' dula 'pair' rebus: dul 'metal casting'. Thus, together the hypertext reads: dul ayo kammaTa 'metal casting, iron mint'. Thus, the veneration of the fiery pillar of light and flame in Amaravati sculptures signifies adoration of the Skambha which is associated with mintwork. meḍ(h) 'pillar' rebus: medha 'yajña' medhā 'dhanam' (Niruktam) It is a celebration of wealth produced by using alloy metal castings of copper (two goats) and zinc (two svastika-s) minerals, i.e. castings of brass. The narrative signifies a tāṇḍava nṛtyam 'cosmic dance' around Skambha, fiery pillar of light and flame. The hieroglyph (Harappa Script) atop the Skambha is: khambhaṛā 'fish-fin rebus: kammaṭa 'mint, coiner, coinage'. The hieroglyph is above tāmarasa 'lotus' rebus: tāmra 'copper'. caṣāla is composed of godhuma, 'wheat chaff'. The fumes of godhuma carburize -- infuse carbon into -- the minerals in the fire-altar creating hard alloys. At the baseof the Skambha are two round stones inscribed with svastika hieroglyph: Sathiya 'svastika' hieroglyph Rebus: જસતનો [jasatano] Gujarati जस्ता [jastā], 'zinc' (Hindi) sathiya, 'zinc' (Kannada) თუთია [t'ut'ia] Georgian The pillar is placed on a pedestal which is flanked by two antelopes. mr̤eka, melh 'goat' (Telugu. Brahui) Rebus: milakkhu 'copper' mleccha-mukha 'copper' (Pali. Samskrtam) dula 'two' rebus: dul 'metal casting'. Rebus readings of other hieroglyphs and the sculptural narrative are: sippi, 'bivalve shell, spathe of date palm' sippi 'craftsman' ayo medha kammata sippi 'iron metal mint artisan'. 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. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛf., 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) Universal Ruler; Saptaratna; Rajakakuda;224 India 436989/Andhra/JAGGAYYAPETA STUPA,/RELIEF, SLAB, CHAKRAVARTIN/&amp; SEVEN JEWELS, det, Chintamani./Stone (Ikshvaku, ca. 3rd c.)/Jaggayyapeta, Mus. http://library.clevelandart.org/node/201473 American Council for Southern Asian Art (ACSAA) 12452. Jaggayyapeta. Analogous Chakravartin and 7 jewels versions are found in Amaravati and Nagarjunakonda. Zimmer, 1955, p. 349 and pl. 37; Combas, 1935, pp. 89, fig. 35 and 89; Coomaraswamy, 1935, figs. 19 and 20.Square coins descend from the clouds? Or, is it stylized representationof a tree (branches), as a background ligature? Section 2. Ear-rings of Satavahana era Cakravartin with khambhaṛā 'fish-fins' and other related hieroglyphs Three hieroglyphs on the gold ear-rings: 1. A spathe flanked by a pair of molluscs emerges out of the purnaghaTa (sacred vase); 2. tiger; 3. elephant. दळ (p. 406)[ daḷa ] दल (p. 404) [ dala ] n (S) A leaf. 2 A petal of a flower. dula 'pair' Rebus: dul 'metalcast': ढाळ [ḍhāḷa] ḍhāḷako 'ingot' (Marathi) Hieroglyph: gāb(h)ā ʻ foetus, spathe of a plant,gābhā m. ʻ new leaf springing from centre of plaintain tree ʼ, gāb m. ʻ pulp, pith ʼgābbo ʻ inner core of plaintain stem ʼ; (CDIAL 4055) Rebus: Dhātughara "house for a relic," a dagoba SnA 194. (Pali) hangi 'molusc' Rebus: sanghi 'member of sangha, community. sippi 'bivalve shell' rebus: sippi 'artisan, sculptor'. Tiger (cat) Hieroglyph: kola 'tiger' Rebus:kol 'working in iron' kolhe 'smelter' Hieroglyph: karabha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron' ibbo 'merchant'.