INDUS WRITING ON METAL TOOLS AND UTENSILS, ENCODES SPEECH *** Jai Maharaj posts
and/or www.mantra.com/jai
Indus writing on metal tools and utensils, encodes speech
Saturday, December 5, 2009
http://sites.google.com/site/induswriting/epigraphs
Updated 6 Dec. 2009
Indus writing on metal tools and utensils, encodes speech
http://www.docstoc.com/docs/18615254/Indus-writing-on-utensils-and-metal-tools
A hypothesis is that the Indus writing is related to smithy-guild.
The hypothesis is validated by reading rebus, the mleccha [milakkhu
'copper' (Pali), cognate meluhha] homonym glosses.
The early smith not only invented alloying but also a writing system
to create smithy-guild tokens to authenticate the trade transactions
over an extensive area extending from Ropar in Sarasvati River basin,
Punjab to Ur in Mesopotamia. The trade was the mother of invention;
trade necessitated authentication of the smelting, forging, casting,
ingot, moulding metalwork using a range of mineral ores. This is the
function performed by over 400 pictorial glyphs (so-called signs))
and over 100 pictorial motifs (so-called field symbols) of the Indus
writing system which encoded mleccha speech (referred to as
mlecchitavikalpa by Vatsyayana included in the list of 64 arts in
vidyaasamuddesha, objective of vidyaa, education).
1. There are inscriptions on metal tools, evidencing the
competence of the smith as a scribe (karNaka, the most-frequently
used glyph, which means: rim of jar).
2. There are over 230 copper tablets inscribed with Indus writing
(see appended epigraphs), again evidencing the competence of the
smith as a scribe.
3. Over 10 metal tools and metal weapons of Kalibangan, Chanhu-
daro, Harappa and Mohenjo-daro are inscribed.
4. Mesopotamian texts evidence trade with Meluhha (Sarasvati
civilization area) in metals such as gold, silver, copper, tin and
alloys such as bronze which are high-value products of the times.
5. The legacy of the Indus mint continues into the historical
periods with the vivid use of Indus glyphs on early punch-marked
coins (cf. Theobald sign-list of punch-mark signs), Sohgaura copper-
plate, Rampurva copper bolt between ca. 6th and 3rd cent. BCE.
6. An average of 5 glyphs (both pictorial motifs and signs) are
used on Indus epigraphs. An average of 5 glyphs (both pictorial
motifs and signs) are used on punch-marked coins produced by metal-
smith-guilds/mints of janapadas (peoples' republics), consistent with
the repertoire of early smithy-guilds.
7. The tradition of use of copper tablets to record property/trade
transactions and rajashasana continues in India during the historical
periods.
8. The cultural continuum is also evidenced by the continued use
of cire perdue (lost wax) technique used for making bronze images (as
in Mohenjodaro dancing girl) of utsavabera made even today in
Swamimalai and other parts of India.
9. Bronze-age iron is evidenced in many archaeological sites and 3
sites of Malhar, Lohardewa and Raja-nal-ki-tila on Ganga basin have
shown evidence of iron smelters ca. 1800 BCE. The areas of austro-
asiatic speakers is correlated with the areas where early mineral-
smelting, iron-smelting have been located.
10. The standards of metrology (particulary weights) are used in
the civilization contact area (e.g. Magan, Dilmun) as evidenced by
the recent archaeological finds of weights and use of Indus writing
system in Persian Gulf states. 11. Two pure tin ingots found in a
shipwreck at Haifa contained inscriptions using Indus script glyphs.
The glyphs have been decoded as tin mineral (ranku dhatu).
Dholavira advertisement-board using many glyphs used on metal tool
inscriptions, decoding the advertisement-board announcing a variety
of metallurgical services. Mesopotamian texts also record trade in
'fish-eyes' [decoded as ka_n. 'iron' nodules; ayo 'fish'; rebus: ayas
'iron' (Skt.)].
See: http://www.docstoc.com/docs/18309089/engrave
In the Indian tradition, a smithy is also a temple, as evidenced by
the gloss: kole.l which means both a smithy and a temple in Kota
language. The sanctity of metal work is paralleled by the sanctity of
bronze utsava bera [bronze sculptures carried in sacred processions,
and worshipped (puja) in homes]. Veneration of ancestors in
dhatugarbha (dagoba) or stupas or megalithic circles of stones gains
added significance in Indian tradition, by the semantics of the
gloss: dhatu. Dhatu means 'mineral' and it also means 'relics'. Both
are as sacred as the sacred-fire, the sacred witness-ordainer uniting
aatman with the cosmos, aatman with the paramaatman: agnim i_l.e
purohitam...
On numeral strokes of the script
Use of numeral strokes is a distinguishing structural feature of the
writing system. See: Decoding of numeric stroke glyphs of Indus
script
http://www.docstoc.com/docs/18484078/numerals
Consistent with this decoding of numeric strokes in general,
numerals on metal tools and utensils may be read rebus and may not
relate to counting of objects or volumetric or weight measures.
An outline is apposite, to start with, on the use and rebus semantics
of numeral strokes on metal tools, by reviewing some samples of
epigraphs on non-metal objects.
kalibangan 059a shows structural groups of numeral strokes, together
with a 'bow' glyph.
Mint, workshop (for) native metal, furnace, smithy.
kama-t.hiyo = archer; ka-mat.hum = a bow; ka_mad.i_, ka_mad.um = a
chip of bamboo (G.) ka_mat.hiyo a bowman; an archer (Skt.lex.) Rebus:
kammat.a = portable furnace (Te.) kampat.t.am coiner, mint (Ta.)
One short numeral stroke: sal stake, spike, splinter, thorn,
difficulty (H.); rebus: sal 'workshop' (Santali)
One long numeral stroke with superscripte of two short strokes: kod.a
= in arithmetic, one (Santali) Together with pairing sign Sign 99:
at.ar a splinter; at.aruka to burst, crack, slit off, fly open;
at.arccasplitting, a crack; at.arttuka to split, tear off, open (an
oyster)(Ma.); ad.aruni to crack (Tu.)(DEDR 66) Rebus: kod. 'workshop'
(G.); aduru 'native metal' (Ka.)
The numeral strokes should be read as: 3+2 (non-superscript). kolmo
'three'; rebus: kolimi 'forge' (Te.); dol 'pair'; rebus: dul 'cast'
as in dul mer.ed 'cast iron' (Santali). Thus 3+2 are decoded as:
forging, casting (smithy)] Vikalpa: pan~ca 'five' (Skt.) pasra
'smithy' (Santali).
Read on...
http://www.docstoc.com/docs/18615254/Indus-writing-on-utensils-and-metal-tools
End of forwarded message from S. Kalyanaraman
Jai Maharaj, Jyotishi
Om Shanti
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hari....@indero.com
personal marks of makers of such items. As to speech, there is no
support at all.
The recent attempt to analyze these symbols by comparing them to other
symbol sets for known writing systems showed if they are a language they
are most related to dravidian systems and those of ancient middle east.
They are not related to sanskrit systems. Which refutes attempts at
revisionist history to connect indus and vedic cultures in any direct
manner.
harmony
overwhelming.
by contrast more we kow about 3m, sicker we get.
<use...@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)> wrote in
message news:20091230Q52973NB646cTL30zT9V4Pi@PGQLO...
and/or www.mantra.com/jai
Jai Maharaj, Jyotishi
Om Shanti
In article <4b42830c$0$5319$bbae...@news.suddenlink.net>,
"harmony" <a...@hotmail.com> posted:
>
> it is amazing: as little as we know about the ancient hindus, it is still
> overwhelming.
> by contrast more we kow about 3m, sicker we get.
>
> Dr. Jai Maharaj posted:
harmony
<use...@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)> wrote in
message news:20100104TeWsbWWUJxtbhmG0zqW0hz3@P48t4...
and/or www.mantra.com/jai
Jai Maharaj, Jyotishi
Om Shanti
In article <4b46194a$0$5329$bbae...@news.suddenlink.net>,
"harmony" <a...@hotmail.com> posted:
>
> that rings true like a ved vakya.
> Dr. Jai Maharaj posted: