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Commercial Practices In The Ancient Indian Peninsula: Glimpses From Kautilyas Arthashastra
Reza Karim
International Business & Economics Research Journal (IBER), 2014
Very few westerners ever heard of Chanakya, a.k.a Kautilya. Kautilya is credited with compiling the treatise on statecraft called the Arthashastra. This treatise contains fifteen distinct chapters or parts encompassing all components of statesmanship that a ruler needs to run the affairs of his kingdom. This paper briefly narrates some of the commercial practices prevalent in Ancient India enumerated in Kautilyas Arthashastra during the Mauryan period.
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Discovery of a Rosetta stone for अवि 'golden fleece', a Rgveda Potr̥, 'purifier priest' pōtadāra, পোদ্দার pōddāra 'assayer of metals'
Srinivasan Kalyanaraman
This monograph presents the Rosetta stone which is a Bactrian artifact with narratives in a Miho Museum artifact of ca. 3rd millennium BCE- Bactrian silver cup narrative - पोतदार pōtadāra is one of the 12 balutedār of a village entitled to a share of the village produce, in a true commonwealth social organization evidenced in Ancient India. -- ,পোদ্দার pōddāra, ପୋଦାର୍ podār:'assayer of treasury metals' identified on Indus Script working with perforated jars Neo-Sumerian steatite bowl from Ur. Indus script hieroglyphs of sun, crucible, star, trefoil, bull -- Hieroglyphs kamar, 'moon' rebus kamar 'blacksmith' arka 'sun' rebus: arka 'copper, gold' PLUS trefoil of dotted circles pota 'assayer of metals' --ERosetta stone of a Bactrian silver vase which is the earliest archaeologically attested signifier of a Rgveda Potr̥, 'purifier priest', MIHO MUSEUM 〒529-1814 滋賀県甲賀市信楽町田代桃谷300 電話 0748-82-3411 FAX 0748-82-3414 MIHO MUSEUM 友の会 会員募集中 Some narratives shown on cylindrical cups of Bactria, ca. 3rd, early 2nd millennium BCE. Cylindrical Cup with Agricultu • Bactria Late 3rd - early 2nd millennium B.C.E Silver H-12.6 D-9.9 Catalogue Entry(Bac#007) Cylindrical Cup with Agricultural and Ceremonial Scene • Bactria • Late 3rd - early 2nd millennium B.C. • Silver • H. 12.2-12.6 cm, Dia. 9.5-9.9 cm • On this example,2 bearded and moustached male banqueters wearing fillets in their bound long hair are seated in a row above men and boys plowing a field. • • The main personage in this upper row, who faces left, is distinguished by an elliptically shaped bead on his fillet; he also wears a necklace and bracelet with similar beads, all bearing hatched patterns that might suggest veined stone such as agate. A robe with very clearly rendered individual tufts covers one arm entirely and envelops the rectangular form of his lower body. The man's exposed right arm is raised to hold a tall footed beaker to his mouth (this is the only figure to have a defined mouth). In front of him are a footed fruit bowl, a pair of tall vessels, and a second seated figure wearing a robe with a herringbone pattern. The proper right arm of this figure is raised toward the main personage. Also part of this banqueting scene are five other seated male figures, their garments distinguished alternatively by individual tufts or horizontal rows of hatchings that form herringbone patterns. Some figures hold beakers and one rests a hand on a large altar-like rectangular object with a crosshatched pattern. • • In the scene below, two plows are held by long-haired men wearing short kilts with herringbone patterns. Before them, nude youths holding branches attempt to keep two pairs of oxen under control. Another male figure holds a square object-perhaps a box or even a drum-under one arm, and raises the other one. The figures stand on freshly seeded earth; between the animals is an object with a wavy-line pattern and seed-like elements along the top edge. Although difficult to interpret, this could indicate landscape in viewed from above or a vessel in profile. While iconographic elements such as the garments connect the imagery on this cup to the art of Mesopotamia and Elam, certain aspects of style are very distinctive. In particular, a strong interest in the placement of human and animal figures in space is manifest. The oxen in the background are darkened with hatched lines to clearly distinguish them from those in the foreground.3 The muscular shoulders of the human figures may be depicted in profile or in three-quarter view, and they may have one rather than two nipples showing. The two plows, one seen from the front and the other from the back, are placed behind one and in front of the other nude youth. An interest in the use of patterning to define the textures of garments and objects is also evident. In style, this cup is closely related to a silver vessel in the Levy-White collection.4 The main personage in a hunting scene there bears a close resemblance to the main figure on the present cup. He is bearded, with a well-delineated mouth, and has elliptical beads both in his hair and around his neck. A figure with similar features appears on another cup, which depicts the aftermath of a successful hunt.5 1. Amiet 1988b, pp. 136, 161, describes this hoard (like the "Astrabad treasure" from Iran with related material) as a contrived collection of objects from clandestine excavations in northern Afghanistan; see Tosi and Wardak 1972, pp. 9-17. 2. See Amiet 1986, pp. 328-29, fig. 202; Pottier 1984, pp. 73, 212, pl. xxx, fig. 250; Deshayes 1977, pp. l04-5; Amiet 1988b, p. 136, fig. 9. 3. This convention is also used on a cylindrical cup in the Louvre, with a chariot scene: see Amiet 1988b, p. 163, fig. 6. 4. See Pittman 1990, pp. 43-44, no. 30. 5. Amiet 1986, pp. 326-27, fig. 201. • • Designs are incised into an upper and lower register on the walls of this silver cup, with the upper register showing a ritual scene and the lower register showing a farming scene with oxen. The upper register scene has also been thought to be a banqueting scene, but of the eight seated figures, only the figure on the far right facing to the left is shown with food before him and raising his cup to his mouth. This figure is also shown with his head, neck and wrists wearing jewels that appear to be onyx, and higher grade of clothing, both clearly symbols of his high rank. The figure directly in front of this high ranking figure is shown in a position of obeisance, and he has jewelry only on his head. The other six figures have no jewelry. These devices clearly are thought to indicate the respective ranks of these figures. This offertory or welcoming posture can also be seen in the last two figures in this row. • • The two oxen in the lower register are shown pulling plows during a tilling and planting scene. The small naked figure wields a stick to urge on the oxen, and there are clear divisions drawn between the figures holding onto the plow and those sowing seeds. There are similar examples of silver cups from this period with hunting scenes, and in the same manner, those who are thought to be high-ranking figures are shown adorned with jewelry thought to be made of onyx. This body expression with short kilted skirt and emphasized musculature was characteristic of the western Central Asia through Eastern Iran from the 3rd millennium BC through the 2nd millennium BC. The arranged hair expression on the forequarters of the oxen and the musculature of the back legs are also unique to Bactrian culture. The ruins of a massive Bactrian fort of this same period have been excavated, along with temples inside the fort and large numbers of weapons, and we can thus imagine the existence of a ruler who was powerful both in politics and in military might, all while acting as the head cleric of the religion. These people did not have writing, but this vessel clearly depicts one aspect of their society. http://www.miho.or.jp/booth/html/artcon/00000922e.htm --Taxila Silver Jug inscription Jhonika signifies Kshatrapa Zeionises and links with Bactria silver vase of Rgveda 8 Rtvij Miho Museum is presentng a silver cup or vase which could perhaps be the earliest Rosetta Stone of a Rgveda Potr̥, 'purifier priest',and seven other Rtvij in the process of preparation of Soma. I have elsewhere argued that Soma is SomamaNal 'sand containing silver ore'; 's'm (assem) 'electrum' (Old Egyptian attested by Joseph Needham), soma synonym ams'u ancu 'iron' (Tocharian). Thus, Rgveda soma is a metallurgical artifact, perhaps an iron pyrite with silver, gold compound mineral ores. Amazingly, the hawk anzu (sounds similar to ams'u) is narrated in legends to have stolen the tablets of destiny. Soma is obtained from Mt. Mujavant traders. Soma is from the high mountains. Perhaps Mustagh Ata in Kyrgystan. I suggest that the pair of priests on the right are working with perforated vessels and hence, one of them is Rgveda Potr̥, 'purifier priest' working with his assistant. They flank the two perforated vessels and also a bowl containing metal ingots (bun-shaped ingots). All the eight priests seem to be wearing cloths similar to the trefoil decorated shawl of the Mohenjo-daro priest.. The lower register shows farmers at work with the ploughs and ploughing oxen. I suggest that this register is a semantic determinative पोंथ pōntha m n (Or पोंत) A seton. 2 Applied to the hole of a ploughshare.to indicate similar sounding Potr̥, 'purifier priest'. Bactrian Silver Cylindrical Cup with Agricultural and Ceremonial Scene
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Timothy Lubin
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सोमःसंस्था a principal source of wealth for the ancient state, brahma-somāraṇya (4th cent. BCE Kauṭilya’s ArthaŚāstra.2.2.2) produces State revenue
Srini Kalyanaraman
This is an addendum to: http://bharatkalyan97.blogspot .in/2016/08/soma-in-rigveda-al legory-for-metalwork.html Soma in Rigveda, an allegory for metalwork, consistent with the tradition of Indus Script Corpora metalwork catalogues. Evidences have been presented to demonstrate the continued use of Indus Script hieroglyphs on the punch-marked and cast coins of Ancient India in many mints from Takshasila to Anuradhapura. This continuity is also recorded in the State formation and processes of amassing State revenues during Pre-Mauryan and Mauryan times of Ancient India. A remarkably lucid documentation is provided in Kauṭilya’s Arthaśāstra. Kauṭilya is identified with Cāṇakya (c. 350–283 BCE), mentor of the Mauryan emperor. Artha is the sustenance or livelihood of people. A sutra enunciated: dharmasya mUlam artham, the basis for discharge of one’s responsibility is wealth. The sequential refrain of Canakya NIti is: sukhasya moolam dharmam. Dharmasya moolam artham Arthasya moolam rajyam. Rajyasya moolam indriya vijayam. Kauṭilya expounds on the role of the State and training of the crown prince in Chapter I with statements such as: Without government, rises disorder as in the Matsya nyayamud bhavayati (proverb on law of fishes). In the absence of governance, the strong will swallow the weak. In the presence of governance, the weak resists the strong.— ArthaŚāstra 1.4 The very second chapter devoted to artha starts with bhūmichidravidhāna focussing principally on wealth from forest areas. One such forest area which is a source of wealth – artha – for the state is (of uncultivable land) is brahma-somāraṇya (AŚ.2.2.2.), that is forest area assigned to Brahmans and ascetics. Brahmans and ascetics saw the Aranyakas, principal documents of the Vedic narratives, enquiries and life-activities. It appears from the prominent role assigned to artha ‘wealth’ from brahma-somāraṇya (AŚ.2.2.2.) that Soma samsthA were major wealth-producing activities related to such forest areas: brahma-somāraṇya (AŚ.2.2.2.). sōmḥ सोमःसंस्था a form of the Soma-yAga; (these are seven:- अग्निष्टोम, अत्यग्निष्टोम, उक्थ, षोढशी, अतिरात्र, आप्तोर्याम and वाजपेय). It appears that सोमःसंस्था particularly from brahma-somāraṇya -- i.e. from uncultivated forest lands -- were the principal sources of revenue of the State together with the land revenues collected from cultivable lands. This aspect of life in Ancient India is an area for further researches. CHAPTER II. DIVISION OF LAND bhūmichidravidhāna (AŚ.2.2) भूमि--च्छिद्र [p= 1331,2] land unfit for cultivation, Inscr. THE King shall make provision for pasture grounds on uncultivable tracts. Bráhmans shall be provided with forests for brahma-somāraṇya (should be translated as: forests assigned for Soma yaga, see below), for religious learning, and for the performance of penance, such forests being rendered safe from the dangers from animate or inanimate objects, and being named after the tribal name (gótra) of the Bráhmans resident therein. A forest as extensive as the above, provided with only one entrance rendered inaccessible by the construction of ditches all round, with plantations of delicious fruit trees, bushes, bowers, and thornless trees, with an expansive lake of water full of harmless animals, and with tigers (vyála), beasts of prey (márgáyuka), male and female elephants, young elephants, and bisons—all deprived …Manufactories to prepare commodities from forest produce shall also be set up. (2.2.2, pp.65, 66) https://archive.org/download/Arthasastra_English_Translation/Arthashastra_of_Chanakya_-_English.pdf https://archive.org/download/arthasastraofkou014552mbp/arthasastraofkou014552mbp.pdf Notes on brahma-somāraṇya (AŚ.2.2.2.) For settlement of ascetics and BrAhmanas devoted to the study of the Vedas, two types of forests wre identified: tapovana and brahma-somAraNya (AS 2.2.2) ब्रह्मा* रण्य [p= 740,3] n. " holy forest " , a grove in which the वेद is studied L. brahman ब्रह्मन् One conversant with sacred knowledge -अरण्यम् 1 a place of religious study (Apte) BrahmAraNya mahAtmya is the name of a work. Forest produce was dravyavana distinguished from hastivana which are animal sanctuaries. SamAharta. Dravyavana and brahmAraNya Protection against hindrances to such brahmAraNya had to be given priority by the State officials. Within the boundary of the forest-area, Kupyādhyakṣa (Director, Forest Produce under the control of Samāhartā) was “to make arrangements, for the settlement of the foresters or forest-dwellers connected with the produce forests (aṭavīmśca dravyavanāpaśrayāh)- AŚ.2.2.5) and they were to preserve and protect forests from various hazards… Kālāyasa (iron), tāmra (copper), vṛtta (steel), kāmsa (bronze), sīsa (lead), trapu (tin), vaikṛntaka (mercury) and ārakūṭa (brass) are included in the group of base metals. These metals were intended for preparing ploughs, pestles, which provided livelihood (ājīva), and machines, weapons, etc. for protection of the city (purarakṣā) (AŚ. 2.17.17). It may be presumed that separate factories were established in forest zones for each class of production. In this context, Kauṭilya advises the Master of the Armoury (Āyudhāgārdhyakṣa) to be conversant with the raw, defence material in the forests and their qualities and to avoid any adulteration (AŚ. 2.18.20)… In the capital there was a store–house for forest produce (kupyagrha), built under the supervision of the Director of Stores (Sannidhātā) (AŚ.2.5.1).” (Manubendu Banerjee, 2011, Kauilya’s Arthasastra on Forestry in: Sanskrit Vimars’ah, pp. 121-132), pp.123,127,128) http://www.sanskrit.nic.in/svimarsha/V6/c9.pdf Director of mines (Ākarādhyakṣa) (AŚ. 2.12) controlled the production of ores from mines. Kupyādhyakṣa was in charge of setting up factories in the forests for producing serviceable articles (AS 2.17.2). Chief Ordnance Officer (Āyudhāgārādhyakṣa) supervised the business based on various types of forest-produce in the factories (AŚ. 2.18.20). Such factories most of the weapons. Guards who protected the factories were dravyavanapāla. brahma-somāraṇya was thus a source of wealth from सोमःसंस्था and also a source for production of metal implements brought into Āyudhāgāra (State Armoury). This possibility is indicated by the evidence for performance of a Soma Yaga in Binjor (ca. 2500 BCE). The evidence is a yajna kunda with an octagonal pillar, a signature pillar of a Soma Yaga, together with an Indus Script inscription. http://bharatkalyan97.blogspot.in/2016/07/having-eight-corners-vedic-yupa-in_35.html अष्टाश्रि 'having eight corners' (Vedic) yupa in Indus Script tradition signifies medha,अहीन सत्त्र soma yajña validated by19 yupa inscriptions. S. Kalyanaraman Sarasvati Research Center August 27, 2016
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Review of the Arthashastra
sourav pai
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Citrābhāsam is Indus Script cipher. Throne, lotus, cobrahood, eight-angled pillars in Ancient sculptures signify metalwork wealth
Srinivasan Kalyanaraman
This is an addendum to: Indus Script hypertexts ayo kammaṭa dvāra, 'entrance mint workshop' (Mahāvamsa); paṭṭaḍi 'metal anvil workshop' https://tinyurl.com/y94jt7ah Ayodhya: Carved stone pillars, Hindu sculptures, broken idols and a Shivling excavated during Ram Mandir construction work, May 2020 Source: https://www.opindia.com/2020/05/ayodhya-temple-remains-shivaling-broken-idols-and-pillars-excavated-at-ram-janmabhoomi-site/ The hypertexts are: kambha 'pillar' PLUS khambhaṛā 'fish-fin' pair atop rebus: aya 'fish' rebus: aya 'iron' PLUS kammaṭa 'mint,l coiner, coinage' PLUS feet PLUS throne, turban: ayo kammaṭa 'metal mint' PLUS paṭa aḍi 'throne, turban, slab' PLUS 'anvil' = hypertext, paṭṭaḍi 'metal anvil workshop'. ayo kammaṭa dvāra 'entrance to metal mint' is an expression used in Mahāvamsa. XXV, 28, The expression has been wrongly translated as iron-studded gate. It is indeed a reference to the entrance to metal mjint workshop, as signified by the 'srivatsa' ayo kammaṭa hypertext adorning the torana of the gateways of Bharhut and Sanchi. The centre-piece shows a pair of twigs with ingots? on the base, flanked by srivatsa hieroglyph multiplex. nIla? Blue steel ingots? The displayed flowers (lotuses? tAmara 'lotus' rebus: tAmra 'copper'), tree branch with badarI berries (kUTI 'badarI twigs, rebus: kuThi 'smelter'). Itihāsa of Bhārata bronze-age, ayo kammaṭa dvāra, 'metals mint workshop entrance' (Mahāvamsa. XXV, 28); paṭṭaḍi 'metal anvil workshop' based on Amaravati, Bharhut, Begram, Sanchi, Bodh Gaya ancient sculptural friezes (ca. 3rd cent. BCE), Indus Script (4th millennium BCE) & Atharva Veda Skambha Sukta (AV X.7)(undated, Bronze_Age). The monograph demonstrates the signifiers of two Indus Script hypertexts on iconographs of Amaravati, Bharhut, Sanchi sculptural friezes. The hypertexts are: ayo kammaṭa dvāra, 'entrance mint workshop' paṭṭaḍi 'metal anvil workshop'. Hieroglyph: फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c स्फट [p= 1269,3] m. a snake's expanded hood L. phaṭa n. ʻ expanded hood of snake ʼ MBh. 2. *phēṭṭa -- 2. [Cf. phuṭa -- m., °ṭā -- f., sphuṭa -- m. lex., °ṭā -- f. Pañcat. (Pk. phuḍā -- f.), sphaṭa -- m., °ṭā -- f., sphōṭā -- f. lex. andphaṇa -- 1. Conn. words in Drav. T. Burrow BSOAS xii 386] 1. Pk. phaḍa -- m.n. ʻ snake's hood ʼ, °ḍā -- f., M. phaḍā m., °ḍī f. 2. A. pheṭ, phẽṭ. (CDIAL 9040) పటము (p. 695) paṭamu paṭamu. [Skt.] n. A cloth, వస్త్రము. A picture. గెరిపటము a paper kite, పతంగి. The hood of a serpent, (See hoods of cobra adorning the worshipping naga-s). Ta. patam cobra'shood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45. (DEDR 47) Rebus: Factory, guild: फड phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nachhouse, गाण्याचा or ख्यालीखुशालीचा फड A singingshop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work,--as a factory, manufactory, arsenal, dock-yard, printing-office &c. फडकरी (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). फडनीस phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस.(Marathi) பட்டரை¹ paṭṭarai , n. See பட்டறை¹. (C. G. 95.) பட்டறை¹ paṭṭaṟai , n. < பட்டடை¹. 1. See பட்டடை, 1, 3, 5, 7, 8, 12, 14. 2. Machine; யந்திரம். 3. Rice-hulling machine; நெல்லுக் குத்தும் யந்திரம். Mod. 4. Factory; தொழிற்சாலை. Mod. 5. Beam of a house; வீட்டின் உத்திரம். 6. Wall of the required height from the flooring of a house; வீட்டின் தளத்திலிருந்து எழுப்ப வேண்டும் அளவில் எழுப்பிய சுவர். வீடுகளுக்குப் பட்டறை மட்டம் ஒன்பதடி உயரத்துக்குக் குறை யாமல் (சர்வா. சிற். 48). பட்டறை² paṭṭaṟai , n. < K. paṭṭale. 1. Community; சனக்கூட்டம். 2. Guild, as of workmen; தொழிலாளர் சமுதாயம். (Tamil) Bronze Age veneration of Atharva Veda Skambha Sukta (AV X.7,8) See: http://bharatkalyan97.blogspot.in/2014/12/skambha-sukta-atharva-veda-x-7-pair-of.html These two sculptural friezes demonstrate the venerate of Skambha of Atharva Veda Skambha Sukta. It is a fiery pillar of light topped by 'srivatsa' deciphered in Indus Script tradition: khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage' PLUS dula 'pair' rebus: dul 'metalcasting' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, the hypertext message is: dul aya kammaṭa 'cast metal mint'. The feet emerging out of the pillar: meṭṭu, meḍ 'step' rebus: मृदु mṛdu, mẽṛhẽt, meḍ 'iron' (Samskrtam.Santali.Mu.Ho.) phaṇi 'cobra's hood' rebus: lead or tin. Citrābhāsam is explained as 'reflective' rendering in writing -- in picture (writing or sculpture). Thus, the expression आभास ābhāsa 'rebus metonymy/metaphor' is equally applicable to writing system and a sculptural rendering will be elaborated in the context of the expression in Mahavams'a: http://bharatkalyan97.blogspot.in/2016/08/bharhut-besnagar-sculptural-makara.html ayo-kammaTa dvAra = aya 'iron' PLUS kammaTa 'mint' PLUS dvAra 'gateway'. The words ayo, and kammaTa used in the Mahavams'a expression (Mahavamsa, XXV, 28) are signified on Sanchi gateway northern Torana using the technique of citra- ābhāsa चित्र + आ-भास: Fish-fin PLUS fish PLUS mollusc: ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā 'fin' rebus: kammaTa 'mint, coiner, coinage' PLUS sippi 'mollusc' rebus: sippi 'artificer' PLUS tAmarasa 'lotus' rebus: tAmra 'copper' PLUS dala 'leaf' rebus: dhALa 'large ingot'. This metonymy explains the orthography on the northern gateway of Sanchi torana on sculptural friezes. The sippi 'artificer' is shown standing next to the hieroglyph-multiplex, hypertext to signify the detailed, technical specifications of the work carried out in the mint: copper work, ingot production, metal casting (artificer's work). The winged tigers flanking the sculptural metaphors signify: kola 'tiger' rebus: kol 'working in iron' PLUS khambha 'wing'rebus:kammaTa 'mint'. Thus, iron mint. The centre-piece is (perhaps) spoked wheel atop elephants: Ara 'spoke' rebus: arA 'brass' PLUS eraka 'nave of wheel' rebus: eraka 'molten cast' arka 'copper' PLUS karibha, ibha 'elephant' rebus: karba, ib 'iron'. Thus, iron, copper, brass metal work. The gateway proclamation by the device of citra-AbhAsa चित्र + आ-भास is an announcement of metalwork competence provided by the mint-workers & metal artificers at Besnagar (Sanchi). The rebus renderings of hieroglyphs in sculptural medium is a continuum from Indus Script cipher tradition of rendering hieroglyphs as hypertext inscriptions read rebus. Buddhist monument at the Sanchi Hill, Raisen district of the state of Madhya Pradesh, India. Torana North. T. Carved decoration of the Northern gateway to the Great Stupa of Sanchi. Torana Panels:Chhaddanta,Sujata's offering, Vessantara Jataka, East Columns: Shakra's visit, Royal procession,Bimbisara's visit, West Column: Foreigners, Monkeys, Kapilvastu. The same composition or hypertext of ayo-kammaTa 'fish PLUS fish-fin' occurs on Bharhut Stupa torana of Eastern Gateway, where the centre-piece is flanked by two such compositions or hypertexts.
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Citrabhasam is Indus Script cipher Throne lotus cobrahood eight angled pillars
Srini Kalyanaraman
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REFLECTIONS OF MUGHAL STATE APPARATUS ON AMBER (1694-1744)
Sumbul Halim Khan
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Identical narratives in Jaggayyapeta and Amaravati sculptural friezes are NOT of Aśoka cakravarti but of a फडनीस guild-master of Amaravati mint
Srinivasan Kalyanaraman
Art historians and scholars of civilization studies have interpreted Jaggayyapeta sculptural frieze (of marble in Govt. Museum, Egmore) as a depiction of Aśoka cakravarti because of the signifier of a spoked-wheel atop a pillar and because the person with an upraised arm is flanked by a horse and an elephant which are two of the 14 . I submit, comparing the frieze with an identical narrative on an Amaravati sculptural frieze (in Guimet Museum, Paris), that the depiction is NOT of Aśoka cakravarti but of a guild-master of a mint in Amaravati. Left: Marble sculptural frieze. Jaggayyapeta stupa. Andhra, 1st C. BCE. H. 4'3". Government Museum, Madras Right: Sculptural frieze from Amaravati. Guimet Museum Two pillars with capitals flank the standing person. The pillar on the left has the capital of a spoked wheel and on the base of this pillar, square coins are shown. To the right of this pillar is a parasol:Ta. kuṭai umbrella, parasol, canopy. Ma. kuṭa umbrella. Ko. koṛ umbrella made of leaves (only in a proverb); keṛ umbrella. To. kwaṛ id. Ka. koḍe id., parasol. Koḍ. koḍe umbrella. Tu. koḍè id. Te. goḍugu id., parasol. Kuwi (F.) gūṛgū, (S.) gudugu, (Su. P.) guṛgu umbrella (< Te.). / Cf. Skt. (lex.) utkūṭa- umbrella, parasol.(DEDR 1663) Rebus: koD 'workshop, smithy'. Read together, the spoked-wheel and the umbrella signify rebus Meluhha expressions of metalwork: ārakuta, 'brass' composed of hieroglyphs: arā 'spoke' rebus: āra 'brass' kūṭa'. The second pillar on the right has the capital of an ox-hide shaped ingot which is read rebus: ḍhālako ‘large ingot’. खोट [khōṭa] ‘ingot, wedge’; A mass of metal (unwrought or of old metal melted down)(Marathi) khoṭ f ʻalloy (Lahnda) Thus the pair of ligatured oval glyphs read: khoṭ ḍhālako ‘alloy ingots’ Thus, the two capital pillars and the parasol signify ārakuta 'brass' and khoṭ ḍhālako ‘alloy ingots’. The upraised arm of the standing person is: eraka 'upraised arm' rebus: eraka 'moltencast'. This is signifier of a caster of molten metal. He is an important person wearing a twig on his crown: kūdī 'twig' kuṭhi 'smelter' Vikalpa: maṇḍa = a branch; a twig; a twig with leaves on it (Telugu) Rebus: maṇḍā = warehouse, workshop (Konkani) Thus, the standing person is a worker with a smelter and manager of a warehouse, workshop. Such a leader is called guild-master: *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master: Pk. sēḍhĭ̄ -- f. ʻ line, row ʼ (cf. pasēḍhi -- f. ʻ id. ʼ. -- < EMIA. *sēṭhī -- sanskritized as śrēḍhī -- , śrēṭī -- , śrēḍī<-> (Col.), śrēdhī -- (W.) f. ʻ a partic. progression of arithmetical figures ʼ); K. hēr, dat. °ri f. ʻ ladder ʼ.(CDIAL 12724) Rebus: śrḗṣṭha ʻ most splendid, best ʼ RV. [śrīˊ -- ]Pa. seṭṭha -- ʻ best ʼ, Aś.shah. man. sreṭha -- , gir. sesṭa -- , kāl. seṭha -- , Dhp. śeṭha -- , Pk. seṭṭha -- , siṭṭha -- ; N. seṭh ʻ great, noble, superior ʼ; Or. seṭha ʻ chief, principal ʼ; Si. seṭa, °ṭu ʻ noble, excellent ʼ. 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 12725, 12726) What do the flanking horse and elephant signify? Elephant: karibha, ibha 'elephant' rebus: karba, ib 'iron' Horse: sadassa 'a noble steed of the horse kind' (Pali) sadom 'horse' rebus: sadana 'seat, dwelling'. Thus, together, the elephant and horse signify, karba sadana 'iron workplace'. The association of the Indus Script hypertexts with metalwork is further reinforced by another Amaravati sculptural frieze of adorants worshipping a fiery pillar of light. The adorants wear cobrahoods on their crowns. This is a hypertext of Indus Script: paṭṭaḍi cognate phaḍā 'smithy, metals manufactory' is cognate phaḍā 'metals manufactory' Hieroglyph: फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c. Ta. patam cobra's hood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers. फडपूस (p. 313) phaḍapūsa f (फड & पुसणें) Public or open inquiry. फडफरमाश or स (p. 313) phaḍapharamāśa or sa f ( H & P) Fruit, vegetables &c. furnished on occasions to Rajas and public officers, on the authority of their order upon the villages; any petty article or trifling work exacted from the Ryots by Government or a public officer. फडनिविशी or सी (p. 313) phaḍaniviśī or sī & फडनिवीस Commonly फड- निशी & फडनीस. फडनीस (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. फडकरी (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). फडझडती (p. 313) phaḍajhaḍatī f sometimes फडझाडणी f A clearing off of public business (of any business comprehended under the word फड q. v.): also clearing examination of any फड or place of public business. फड (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nach house, गाण्याचा or ख्यालीखुशालीचा फड A singing shop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work, as a factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field (as of ऊस, वांग्या, मिरच्या, खरबुजे &c.): also a standing crop of such produce. 5 fig. Full and vigorous operation or proceeding, the going on with high animation and bustle (of business in general). v चाल, पड, घाल, मांड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) 7 The stand of a great gun. फड पडणें g. of s. To be in full and active operation. 2 To come under brisk discussion. फड मारणें- राखणें-संभाळणें To save appearances, फड मारणें or संपादणें To cut a dash; to make a display (upon an occasion). फडाच्या मापानें With full tale; in flowing measure. फडास येणें To come before the public; to come under general discussion. பட்டரை¹ paṭṭarai , n. See பட்டறை¹. (C. G. 95.) பட்டறை¹ paṭṭaṟai , n. < பட்டடை¹. 1. See பட்டடை, 1, 3, 5, 7, 8, 12, 14. 2. Machine; யந்திரம். 3. Rice-hulling machine; நெல்லுக் குத்தும் யந்திரம். Mod. 4. Factory; தொழிற்சாலை. Mod. 5. Beam of a house; வீட்டின் உத்திரம். 6. Wall of the required height from the flooring of a house; வீட்டின் தளத்திலிருந்து எழுப்ப வேண்டும் அளவில் எழுப்பிய சுவர். வீடுகளுக்குப் பட்டறை மட்டம் ஒன்பதடி உயரத்துக்குக் குறை யாமல் (சர்வா. சிற். 48). பட்டறை² paṭṭaṟai , n. < K. paṭṭale. 1. Community; சனக்கூட்டம். 2. Guild, as of workmen; தொழிலாளர் சமுதாயம். (Tamil) Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) A pair of fish-fin ligatured to the face of a dwarf, kharva, gaṇa
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Bhāratīya itihāsa, Indus Script hypertexts signify metalwork wealth-creation by Nāga-s in paṭṭaḍa ‘smithy’ .pdf
Srini Kalyanaraman
Location: capital Dhānyakaṭaka Amarāvati, the place of immortals Early Satavahanas (220 B. C. E. to Second half of first century B. C. E.) Thesis of this monograph is that Nāga-s signified by the Indus Script ieroglyph-hypertext फड, phaḍa 'cobra hood' were artisans in-charge of manufactories to produce wealth of the nation in paṭṭaḍa ‘smithy’ of the Bronze Age.. फडनिविशी or सी (p. 313) phaḍaniviśī or sī & फडनिवीस Commonly फड- निशी & फडनीस. फडनिशी or सी (p. 313) phaḍaniśī or sī f The office or business of फडनीस. फडनीस (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. फडपूस (p. 313) phaḍapūsa f (फड & पुसणें) Public or open inquiry. [quote] As province after province fell out of the empire of Ashoka and formed itself into a separate kingdom under some chief, a branch of the Satiyaputras who are mentioned in the Edicts of Ashoka took advantage of this opportunity and founded a kingdom in what was known as Maharashtra [Bakhle, 45.]. In the light of the information supplied by the Hathigumpha inscription of Kharevela and that at Nane Ghat, we get 220 B. C. E. as the approximate year in which Simuka founded the dynasty of the Satavahanas [Bakhle, 48; Sir R. Bhandarkar and D. R. Bhandarkar, however, advocate 75 B. C. E. as the date of the rise of their dynasty.]. The independent State of Satiputra army was situated along the western ghats and the konkan coast below [Sir R. Bhandarkar c/f Bakhle, 51.]. Their territory extended from sea to sea [Chitgupi, 28.]. Satakarni was probably contemporary with Pushyamitra and the performance of the Ashvamedha sacrifice recorded in the Nane Ghat inscription can be explained by supposing that he was the actual conqueror of Ujjain [Bakhle, 53.]. The sacrifices and fees paid to the Brahmans testify eloquently to the wealth of his realm and his Ashvamedha sacrifice bespeaks his sarvabhaumatva. But after Kuntala, the Satavahanas were forced to take refuge in Southern Maharashtra. In this work of conquests, the Satavahanas were helped by the Rathikas and Bhojas who were duly rewarded with offices, titles and matrimonial alliances [Nilkanta Sastri, History of South India, 88.]. [unquote] http://ratnagiri.nic.in/gazetter/gom/his_satavahanas.html http://dsal.uchicago.edu/reference/schwartzberg/fullscreen.html?object=057 The sculptural friezes of Amaravati are replete with a recurrent theme of adoration of Nāga-s. Nāga-s worshipped the Atharva Veda fiery pillar of light (AV X.7), worshipped in kole.l 'smithy,forge' calling it kole.l 'temple. Nāga-s venerated Dhamma as exemplified by Indus Script hypertexts. See: Dream of Mahā Māyā and itihāsa of Amaravati, Sanchi, Bharhut lohapasada, celestial palaces of divinities, Great Thupa-s https://tinyurl.com/y8k6egn8 Bronze Age metalwork to create the wealth of the nation Sculptural Frieze 1, Amaravati Sculptural Frieze 2, Amaravati The two sculptural friezes 1 and 2 show artisans carrying a threaded-rope and the entire scene emerges out of the snout of a makara. On frieze 1, the purnakumbha signifying wealth is kept on top of a base signified by the 'srivatsa' hypertext which reads: khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage' PLUS dula 'pair' rebus: dul 'metalcasting' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, the hypertext message is: dul aya kammaṭa 'cast metal mint'. The threaded-rope is a hypertext which signifies: 1. dāmanī दामनी A foot-rope. dāmā दामा A string, cord. धामन् dhāman A fetter. dāˊman1 ʻropeʼ R̥gveda rebus: dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ). 2. mēḍhā 'twist' rebus med 'iron' med 'copper' (Slavic) mēḍhā 'yajña, dhanam, nidhi'. makara 'composite animal of crocodile PLUS elephant': karabha,ibha 'elephant' rebus: karba, ib 'iron' PLUS karā 'crocodile' rebus: khār 'blacksmith'.PLUS dhmakara, dhamaka 'forge-blower, blacksmith'. The message of the two friezes is thus an itihāsa narrative of wealth-production by metal smelters and artisans of Amaravati and related heritage sites during the Bronze Age. कटक [p= 243,3] m. (Comm. on Un2. ii , 32 and v , 35) a twist of straw , a straw mat Comm. on Ka1tyS3r. कटक is also the name of the capital of Orissa. The two friezes affirm the name of Amaravati as Dhānyakaṭaka by showing artisans carrying a threaded rope of straw the source of dhanam, wealth and hence, the name Dhānyakaṭaka, 'wealth from the twist of straw' which is a metaphor for dul aya kammaṭa, 'cast metal mint' work producing wealth. Nāga-s were a फड, phaḍa, metalwork artisan-architect guild. That they were a फड, phaḍa is signified by the Indus Script hypertext:फड, phaḍa 'hood of cobra' rebus: फड, phaḍa 'guild in charge of manufactory (a plant where something is manufactured),arsenal (collection of weapons and military equipment)'. That Nāga-s were working in a metal casting mint is signified by the hypertext of 'Śrivatsa' and other Indus Script hieroglyphs. This identification of the manufactory of Dhānyakaṭaka, the capital city of the region, is elaborated in this monograph, in the context of Bhāratīya Itihāsa of Nāga-s. . The hypertexts are: ayo kammaṭa dvāra, 'entrance mint workshop' paṭṭaḍi 'metal anvil workshop'. Hieroglyph: फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c स्फट [p= 1269,3] m. a snake's expanded hood L. phaṭa n. ʻ expanded hood of snake ʼ MBh. 2. *phēṭṭa -- 2. [Cf. phuṭa -- m., °ṭā -- f., sphuṭa -- m. lex., °ṭā -- f. Pañcat. (Pk. phuḍā -- f.), sphaṭa -- m., °ṭā -- f., sphōṭā -- f. lex. andphaṇa -- 1. Conn. words in Drav. T. Burrow BSOAS xii 386] 1. Pk. phaḍa -- m.n. ʻ snake's hood ʼ, °ḍā -- f., M. phaḍā m., °ḍī f. 2. A. pheṭ, phẽṭ. (CDIAL 9040) పటము (p. 695) paṭamu paṭamu. [Skt.] n. A cloth, వస్త్రము. A picture. గెరిపటము a paper kite, పతంగి. The hood of a serpent, (See hoods of cobra adorning the worshipping naga-s). Ta. patam cobra'shood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45. (DEDR 47) Rebus: Factory, guild: फड (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nachhouse, गाण्याचा or ख्यालीखुशालीचा फड A singingshop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work,--as a factory, manufactory, arsenal, dock-yard, printing-office &c. फडकरी (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). फडनीस (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस.(Marathi) பட்டரை¹ paṭṭarai , n. See பட்டறை¹. (C. G. 95.) பட்டறை¹ paṭṭaṟai , n. < பட்டடை¹. 1. See பட்டடை, 1, 3, 5, 7, 8, 12, 14. 2. Machine; யந்திரம். 3. Rice-hulling machine; நெல்லுக் குத்தும் யந்திரம். Mod. 4. Factory; தொழிற்சாலை. Mod. 5. Beam of a house; வீட்டின் உத்திரம். 6. Wall of the required height from the flooring of a house; வீட்டின் தளத்திலிருந்து எழுப்ப வேண்டும் அளவில் எழுப்பிய சுவர். வீடுகளுக்குப் பட்டறை மட்டம் ஒன்பதடி உயரத்துக்குக் குறை யாமல் (சர்வா. சிற். 48). பட்டறை² paṭṭaṟai , n. < K. paṭṭale. 1. Community; சனக்கூட்டம். 2. Guild, as of workmen; தொழிலாளர் சமுதாயம். (Tamil) పట్టడ (p. 696) paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు. పటసాల (p. 695) paṭasāla paṭa-sāla. [Tel.] n. A hall or courtyard. பட்டகசாலை paṭṭaka-cālai , n. < T. paṭa- šāla. [K. paṭṭasāle.] 1. Central or principal hall in a house; கூடம். Loc.
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