Meluhha hieroglyphs: makara toraṇa (rope, garland), trefoil on Mohenjo-daro shawl of priest encode, venerate dhamma, dharma

Meluhha hieroglyphs: makara toraṇa (rope, garland), trefoil on Mohenjo-daro shawl of priest encode, venerate dhamma, dharma The hieroglyphs or metaphors which adorn the toraṇa and the temple precincts are a declaration of the smithy as temple for dharma-dhamma. The semantics of the temple architecture are a reaffirmation of the message of good work, of virtuous conduct, sanatana dharma-dhamma. The hieroglyph multiplex of crocodile, elephant, tiger, fish is celebrated as mahAkara, makara and makara toraṇa as a sculptural metaphor is explained in the context of veneration of Ganga as Ma Ganga, mother Ganga. This association of the Gavialis gangeticus – gharial with River Ganga is related to the life-activity of the people of the Gangetic plain as Bharatam Janam, metalcaster folk working with iron. This has been attested archaeologically by the discovery of iron smelters and iron work at Malhar, Raja-nal-ki-tila and Lohardiwa on the Ganga River basin. See: http://archaeologyonline.net/artifacts/iron-ore

Map showing locations of the Early Iron Age sites in the Central Ganga Plain, the Eastern Vindhyas, and different regions of India.

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Damaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli. This correlation explains the veneration of Ma Ganga by Bharatam Janam which finds expression in the association of makara hieroglyph complex with the life-activities in Ganga River basin of the metalcasters. Hieroglyph: dāmā 'rope, garland' (Hindi) Rebus: dhamma 'virtious conduct, dharma' Rebus: dhárma m. ʻ what is established, law, duty, right ʼ AV. [dhárman -- n. V. -dhr] Pa. dhamma -- m. (rarely n.), Aś.shah. man. dhrama -- , gir. kāl. &c. dhaṁma -- ; NiDoc. dhama ʻ employment in the royal administration ʼ; Dhp. dharma -- , dhama -- , Pk. dhamma -- m.; OB. dhāma ʻ religious conduct ʼ; H. kāmdhām ʻ work, business ʼ; OSi. dama ʻ religion ʼ (Si. daham ← Pa.).(CDIAL 6753) There are two artistic depictions of the rope/garland to signify dharma-dhamma: 1. trefoil 2. garland, rope as on a toraṇa in the Hindu tradition of temple arch or architrave architecture. kolmo 'three' Rebus: kolimi 'smithy'; kolle 'blacksmith'; kole.l 'smithy, temple' (Kota) Thus, the rope or garland with three strands may connote: dhāma kole.l 'dharma temple'. It is significant that a gloss damha signifies 'fireplace' thus making the reading consistent with the semantics: kole.l 'smithy' (Kota language).

Trefoil inlay decorated on a bull calf. Uruk (W.16017) ca. 3000 BCE. kõdā 'young bull calf' ebus: kõdā 'turner-joiner' (forge), damkom = a bull calf (Santali) Rebus: damha = a fireplace; dumhe = to heap, to collect together (Santali) 2

See: http://bharatkalyan97.blogspot.in/2015/04/sivalinga-in-dholavira-depicted-as.html

Trefoil design on the uttarIyam of the priest, AcArya, PotR. This denotes: three strands of rope: dāmā 'rope' rebus: dhāma ʻreligious conduct'.

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Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period, dating after 1900 BC. Credit Harappa.com

Stone base for Sivalinga.Tre-foil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35; Parpola, 1994, p. 218.

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Two decorated bases and a lingam, Mohenjodaro. If one end of a tape or belt is turned over three times and then pasted to the other, a trefoil knot results. (Shaw, George Russell (MCMXXXIII). Knots: Useful & Ornamental, p.11.)

Sculpture slab from the lower monastery at Nutta, Peshawar

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Garland bearers. Taxila. http://huntingtonarchive.osu.edu/studypages/internal/GandharaHTML/jpgs/10_Varied%20Icono graphy/03%20Garland%20bearers/GarlandBearTaxilaR452_14.jpg

Wavy garland with bearers from Shrine at Miran in China

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Bass relief from Musee Guimet, Paris

Amaravati Stupa rail copings with garland motif "The Avatamsaka Sūtra (Sanskrit: >Mahāvaipulya Buddhāvatamsaka Sūtra) is one of the most influential Mahayana sutras of East Asian Buddhism."

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https://chandrashekharasandprints.wordpress.com/2012/02/15/garland-bearers-of-the-buddha/

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Garland bearing Yaksha. Amaravathi stupa.

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fragment of relief with garland, bearers and winged figure Northwest frontier Kusana Date: 1st-2nd c. CE, 1 CE - 300 CE Huntington Scan. 0009717

Country: India Site Name: Amaravati Monument: coping fragment or frieze Subject of Photo: garland upheld by ganas and interspersed with Buddha figures Locator Info. of Photo: coping fragment or frieze 10

Photo Orientation: detail of first section from left Iconography: Buddha, unidentified Dynasty/Period: Satavahana Date: ca. late second to third century CE, 150 CE - 300 CE Material: white marble Architecture: structural Current Location: Madras Government Museum, Madras, Tamil Nadu, India Copyright Holder: Huntington, John C. and Susan L. Scan Number: 0026936 See: http://bharatkalyan97.blogspot.in/2015/01/iron-smelter-and-smith-at-forge-as-gana.html The sculptural metaphors speak, declare *saṁhati, *saṅghati, through mlecchita vikalpa hieroglyphs of kole.l 'smithy, temple'. Just as Indus Script Corpora embody speech, Meluhha speech, the metaphors of ancient temples are a continuum in the mlecchita vikalpa tradition of writing, engraving, carving, sculpting. The messaging cipher, mlecchita vikalpa, of Meluhha artisan explains the grammar of dharmadhamma sanatana: dharmasamkathA pl. pious conversation; dhamakArya 'any act of duty or religion, good work, virtuous conduct (Samskritam) Meluhha artisan emerges out of Makara. Ganga fish-eating ghara 'snout of crocodile', aya 'fish'; āhan gar, ayakara 'metalsmith'; ayo meḍh 'goat-fish' 'iron merchant'. Molluscs and Makara hieroglyphs. The iron worker, blacksmith āhan gar, ayakara has created a smithy, a temple: kole.l 'smithy'; kole.l 'temple'. Makara composition and Makara toraṇa hieroglyph multiplex in the semantics messaging traditions of Indian sprachbund is rebus-metonymy-layered cipher in Meluhha. The toraṇa which emerges out of the snout of the makara is thus a chord, a garland which carries the mesage like the waves of an ocean, dama rebus: dhamma 'virtuous conduct'. See:http://bharatkalyan97.blogspot.in/2015/02/vajra-sanghata-binding-together.html "Makara Torana: The ornate Makara Torana (Capricorn Arch or festoon) carved out of a single stone with four opposed fierce makara-heads (crocodile heads) adorns above the entrance of the sanctum. It reminds us the Pallava style Makara torana at the Satrumallesvara rock-cut cave temple at Dalavanur and Draupadi ratha at Mamallapuram. Two opposing capricon heads, (facing north and south) are carved at the center of the door lintel and they appear spitting warriors (in miniature size) holding swords and shields. A male image seated on lotus flower flanked by two chauris is shown within the floral ring located at the center between two makara heads. The parallel pair of opposing makara heads are placed one each in the southern and 11

northern corners of the festoon. The intricately coiled feathers appear spread across the entire door lintel." http://know-your-heritage.blogspot.in/search/label/Architecture

Makara Torana (4 opposed Capricorn Heads)

Makara Torana: Center Figure

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Makara Torana: Figure at Side

Makara Torana: Figure enlarged Source: http://know-your-heritage.blogspot.in/search/label/Architecture

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Torana of Jagannath Temple, Puri (Photo, 1890)

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The artisan emerges out of the snout of the makara. Fragment in the shape of Asura rising up from the mouth of Makara water monster, carved sandstone, 10th-11th century CE. Quang Nam province, central Vietnam. Decoration exterior of roof corner of Cham temple.

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Makara Angkor Complex, Cambodia. Makara metaphor is so central to the artists' message that the makara torana (architrave) is an abiding image to support sculptural friezes of many divinities. In this composition, Indra on Airavata elephant is supported by the makara ensemble ligatured with kIrtimukha. So, karA becomes mahA karA, makara in the writing tradition which started from the mlecchita vikalpa cipher of Indus Script Corpora. Out of the snouts of the makara emerge the garlands, an offering of puja to the paramaatman. Kamadeva sports the makara-dhvaja.

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Kirtimukha PLUS makara: Lakkundi, Lokki Gundi, Gadag Kashi vishwanatha temple.

Makara on lentil of sambor prei kuk temple, Cambodia 17

Fragment of a makara capitalAllahabad Museum, Allahabad"The four hands of the God are damaged so that none of the attributes can be seen. On top, just above the crown, is an image of Yogasana Visnu with the fish and turtle avataras and Maladharadevas on either side. The pilasters flanking the god support niches with images of Brahma and Siva to his right and left respectively; and at their base are female and male attendant figures in front of whom are small seated figures of Buddha and Kalki on a horse. The offset to the right has, from top to bottom, a small figure of Varaha, a makara, a vyala motif, a large figure of Rama holding a bow, and a seated figure of Vamana. Similarly, to the godâ??s left, we have a mutilated image of Narasimha, and at the base the serpent hooded Balarama leaning on a club in front of whom is a seated image of Parasurama. The central projection of the pancaratha pedestal carries a male and female figure in anjalimudra at the sides." http://nmma.nic.in/nmma/antiquity_search.do?method=explore_antiquity_search&id_link _mat=22&?w=&pager.offset=2300

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(Makara hình cá sấu, vật cưỡi của thần Varuna, tranh Ấn Độ)

(Ảnh: makara Ấn Độ, nguồn: obert Beer)

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Ganga on makara. VaruNa on makara.. Varuna on makara, Halebidu. Varuna on makara, Lakkundi, Lokki Gundi, Gadag

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Finial, makara, early-md 16th cent., Ayutthaya Period (1350-1767), Sawankhalok, stoneware, brown & white glaze, 67.5x19.5 cm. South Australian Govt. Grant, 1979

Relief depicting a Makara with Nagas, Wat Suthat, Bangkok, Thailand.

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Makara carving. Krishna temple. Hampi. Out of this makara snout emerge a composition of molluscs. sanghin 'mollusc, shell' Rebus: pilgrim: saṅgin ʻ attached to, fond of ʼ MBh. [saṅgá -] Pk. saṁgi -- , saṁgilla -- ʻ attached to ʼ; S. L. P. saṅgī m. ʻ comrade ʼ (P. also ʻ one of a party of pilgrims ʼ), N. saṅi, Or. sāṅga, °gī, H. saṅgī m., M. s gyā, sāgyā m. *saṅghati ʻ tells ʼ WPah.kṭg. (kc.) s ṅgi m. ʻ friend ʼ, kṭg. s ṅg ṇ, kc. s ṅgiṇ f., J. saṅgī, saṅgu m. (prob. ← H. Him.I 212).(CDIAL 13084) 12842 sáṁkhyāti (*saṁkśāti) ʻ reckons ʼ ŚBr. (samakhyata ʻ appeared ʼ V., sáṁkhyāpayati ʻ causes to be observed ʼ TS.). [Derivation of V. khyā -- < kśā - (Indo -- ir., cf. esp. ásaṁkhyāta -- AV. = Av.aha ta -- ) preserved in MaitrS. and Kāṭh. (EWA i 313 with lit.) is supported by Aś.gir. sachāya = shah. saṁkhaya, the development of kś > khy and cch being parallel with that of kṣ > kkh and cch (NW.),cch (SW.). -khyā] Pa. saṅkhāti, saṅkhāyati ʻ reckons, appears ʼ; Aś. shah. saṁkhaya, kāl. saṁkhaye, gir. sachāya (< *saṁkśāya Hultzsch As 26 n. 6) ʻ having regard to ʼ; Pk. saṁkhāi ʻ counts, knows ʼ, absol. saṁkhāya, caus. pp. saṁkhāviya -- , (orig. NW.?) saṁghaï, sagghaï ʻ says ʼ (J. Bloch BSL xxxi 62 < IE. *sengwh -- , Gk. o)mfh/ &c.); Kal.rumb. saṅghāˊam ʻ I hear ʼ (→ Kt. seṅā -- ); Or. sāṅgibā ʻ to tell, speak ʼ; M. s gṇ ʻ to declare, bid ʼ, s g m. ʻ order ʼ. -Pk. sāhēi, °haï ʻ says, orders ʼ (Bloch loc. cit. connects with Germ. sagen) < saṁhaï ʻ says ʼ with abnormal sound -- change in a verb of ʻ saying ʼ (see ākhyāti) ment ʼ; G. dāmaṇ, ḍā° n. ʻ tether, hobble ʼ, dāmṇũ n. ʻ thin rope, string ʼ, dāmṇī f. ʻ rope, woman's head - ornament ʼ; M. dāvaṇ f. ʻ picket -- rope ʼ. -- Words denoting the act of driving animals to tread out corn are poss. nomina actionis from *dāmayati2. 3. L. ḍ varāvaṇ, (Ju.) ḍ v° ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves together ʼ, Or. daũrā, da rā ʻ rope ʼ; Bi. daũrī ʻ rope to which threshing bullocks are tied, the act of treading out the grain ʼ, Mth. d mar, daũra ʻ rope to which the bullocks are tied ʼ; H. d wrī f. ʻ id., rope, string ʼ, d wrī f. ʻ the act of driving bullocks round to tread out the corn ʼ. -- X *dhāgga -> q.v. Brj. d u m. ʻ tying ʼ. 3. *dāmara -- : Brj. d wrī f. ʻ rope ʼ. (CDIAL 6283) *dāmayati2 ʻ ties with a rope ʼ. [dāˊman -- 1] Bi. d wab ʻ to drive bullocks trading out grain ʼ, H. dāwnā, d nā; G. dāmvũ ʻ to tie with a cord ʼ. -- Nomina actionis from this verb rather than derived directly from dāˊman -- 1, dāmanī -- (but cf. Bi. daũrī *dāmara -> denoting both ʻ rope ʼ and nomen actionis): N. (Tarai) dāuni ʻ threshing ʼ, Bi. daunī ʻ treading out corn ʼ, Mth. dāuni; -- Ku. daĩ f. ʻ driving oxen or buffaloes to tread out grain ʼ, N. dāĩ, d i, Bi.daw hī, Mth. damāhī; H. dā f. ʻ tying a number of bullocks together for treading corn, the treading out, the unthreshed corn. ʼ -- S. ḍāiṇu ʻ to shackle the forelegs ʼ and P. dāuṇā ʻ to hobble horse oṛ ass ʼ (CDIAL 6285)

Trefoil design and Ajrak printing Khatri traditions of Gujarat

Simplest possible knot shape which yields a trefoil.

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Ajrak print from the Khatri community in Kutch, Gujarat, featuring the trefoil motif alongside motifs of flowers and leaves

http://strandofsilk.com/journey-map/ajrak%20printing/motifs%20and%20colours 69

Glosses: triguṇa ʻ threefold ʼ KātyŚr. [tri -- , guṇá -- ] NiDoc. triguna ʻ threefold ʼ, Pk. tiuṇa -- ; S. ṭriṇu m. ʻ having three pieces in a row in a game ʼ, ṭrīṇo ʻ treble ʼ; L. triūṇā ʻ threefold ʼ, awāṇ. trīṇā, P. tiuṇā, tīṇ , G. tamṇũ (< *taṽaṇ -- < *tivuṇ -- ?); M. tivaṇf. ʻ a triple fold (in paper &c.), tripartite leaf ʼ (LM 347 triparṇa -- with ṇ unexpl.).(CDIAL 6022). guṇá m. ʻ single thread or strand of a cord, rope ʼ TS. 2. ʻ species, uality, good uality ʼ Mn. 1. Pa. Pk. guṇa -- m. (Pk. also n.) ʻ cord, string ʼ; Ḍ. guni f. ʻ vein ʼ; Paš. guṇ ʻ bowstring ʼ, Shum. gun -- ḍamaṭík, Gaw. gun, Bshk. guṇ, Sv. gũ , Phal. guṇ, gūṇu; Sh. gil. gūṇi f. ʻ thread ʼ, pales. guṇ ʻ bowstring ʼ, K. gōn m.; S. guṇu m. ʻ one side of a fish's roe ʼ (semant. cf. guru ʻ strand of rope, roe of fish ʼ); A. guṇ ʻ bowstring ʼ, °ṇā ʻ wire, string of musical instrument ʼ; B. gun ʻ tow rope ʼ, guṇā ʻ strandof thread ʼ; Or. guṇa ʻ bowstring ʼ, °ṇā ʻ string of harp &c. ʼ; Bi. gūn, (Gaya) gōn ʻ tow rope ʼ; Mth. gun ʻ bowstring, tow rope ʼ; OAw. guna ʻ bowstring ʼ; H. gun m. ʻ rope ʼ; G. guṇ m. ʻ bowstring, strand ʼ; M. guṇ m. ʻ bowstring ʼ; Si. guṇa ʻ rope, bowstring ʼ, guṇā ʻ the plant Sanseviera zeylanica from which bowstrings are made ʼ. -- WPah. bhal. ḍḷuṇo m. ʻ hemp rope, thread holding beam of balance ʼ *gruṇa -- ? 2. Pa. Pk. guṇá -- m. ʻ constituent part, uality, good uality ʼ; S. guṇu m. ʻ kindness, skill ʼ; L. guṇ m. ʻ merit ʼ; P. guṇā m. ʻ lot, portion ʼ.(CDIAL 4190) a. 1 consisting of three threads; Ku.5.1.-2 three-times repeated, thrice, treble, threefold, triple; ( ) .2. 25.-3 containing the three Guṇas , and . Sindhi dhāmo + guṇa may be cognate with dharma guṇá which means: 'quality of righteous conduct'. S. Kalyanaraman Sarasvati Research Center June 25, 2015

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