Fwd: [BEF] Hieroglyphs depicted with Balarama on sculptures and on ancient coins

[Guest guest]

---------- Forwarded message ----------S. Kalyanaraman <kalyan97

Thu, Jan 1, 2009 at 10:55 AM[bEF] Hieroglyphs depicted with Balarama on sculptures and on ancient coins

 

 

 

 

http://sites.google.com/site/kalyan97/a-new-decipherment-paradigm Updated.

Hieroglyphs depicted with

Balarama on sculptures and on ancient coins

http://sites.google.com/site/kalyan97/_/rsrc/1230776917254/a-new-decipherment-paradigm/balarama.jpg

The

exquisite hieroglyphs on the sculpture of Balarama with naga canopy (dated ca.

100 CE, Mathura)

is an indication that the smiths and miners who created the Sarasvati

civilization and the Sarasvati hieroglyphs also created the early temples. One

form of the temple is the ziggurat-type stupa in Mohenjodaro. Another is the

depiction of murti with multiple arms and hieroglyphic adornments. The

vis'vakarma were also the creators of later-day mints in janapadas and makers

of metallic weapons.

Balarama with

na_ga canopy. Mathura,

101 to 200 CE. Pink sandstone. Lucknow

State Museum

2.5 in. h. On the pedestal are shown: makara, garud.a and turtle.

kaula mengro 'blacksmith' (Gypsy);

Rebus: kol

'smelter'; kolheko kut.hieda koles smelt iron (Santali) kol 'pancaloha, alloy

of 5 metals' (Ta.)

kol, kolla 'furnace' (Ta.) kol 'pancaloha' (Ta.) kola_ 'burning charcoal'

(L.P.) kolame 'deep pit' (Tu.)

kulume

(Te.) dhokra 'metal worker' (Santali)

xola_

'tail' (Kur.) ko_le 'stub of corn' (Te.) kolmo 'rice plant' (Santali)

rebus: mangar

'crocodile'; 'makara' (Skt.) ; mangar (Bal.) ; magar (H.G.); manguro 'sea-fish'

(S.)

ibha = elephant (Skt.) ibhi, ibhya

= female elephant (Skt.Ka.Te.) ibhagati = a female with the dignified gait of

an elephant (Ka.) ibhapuri =hastina_puri (Ka.) ibhahasta = an elephant's trunk

(Ka.)

Rebus:

ib = iron (Santali) ib = iron (Ko.); irumpu = iron, instrument, weapon (Ta.); irumpu, irimpu = iron (Ma.); ib = needle (To.); irimbi = iron (Kod.); inumu id. (Te.);

rumba vad.i = ironstone (Kui)(DEDR 486). ibhya = rich, wealthy (Skt.)

sengel

gidi 'eagle'; rebus: sengel gitil 'furnace for meteoric iron fragments';

ka_sai, ka_sye a

kind of tortoise (the bigger kind) (Kon.lex.) rebus: kac, kas, kacci iron

(Go.); kacc iron, iron blade (of spade)(Go.); kacci iron sword (Go.); sword

(Kol.)?< IA (DEDR 1096; CDIAL 2866)

kas kasa = bronze, bell-metal (Santali);

ka_s'u = gold, money, the smallest copper coin (Ma.); ka.c = rupee (Ko.); kos.

id. (To.)(DEDR 1431)

 

Coin of Maues depicting Balarama, 1st century BCE, British Museum.

 

http://sites.google.com/site/kalyan97/_/rsrc/1230778373610/a-new-decipherment-paradigm/MauryanBalaramaCoin3rd-2ndCenturyCE.jpg?height=420 & width=373

 

Balarama, holding mace and conch on a Maurya coin (lower

right), 3rd-2nd century CE. British

Museum.

http://en.wikipedia.org/wiki/Balarama

 

A tree shown on this coin is a hieroglyph. kut.i 'tree' (Skt.); kut.hi

'smelter' (Santali)

A tree shown on this coin is a hieroglyph. kut.i 'tree'

(Skt.); kut.hi 'smelter' (Santali) See: 'Assyrian tree' is a hieroglyphic composition: post, copper

bands, rosettes

http://tinyurl.com/2dbszz

 

http://sites.google.com/site/kalyan97/_/rsrc/1230781168482/a-new-decipherment-paradigm/m0428.jpg

 

 

http://sites.google.com/site/kalyan97/_/rsrc/1230781189332/a-new-decipherment-paradigm/m0428text.jpg

 

 

Sun's rays shown on this coin is a hieroglyph and compares

with a seal from Mohenjodaro m0428 (with text of inscription).

Meaning: ra~t = a car, a

four-wheeled carriage; ra~t gad.i = a chariot (Santali.lex.)

Rebus: ra~t = rays of the

sun, glare (Santali.lex.)

rat.o a cluster of rocks in the

bed of a river (Santali)

Meaning: akka, aka

(Tadbhava of arka) metal (Ka.); akka metal (Te.) arka = copper (Skt.)

cf. arh, argha a collection of twenty pearls (having the weight of a Dharan.a)

VarBr.S.; worth , value , price , Mn. Ya_jn~.; arghya = valuable (Skt.)

akka-ca_lai metal works (Cilap. 16,126, Urai); mint; akkaca_laiyar goldsmiths,

jewellers (Ta.lex.) 5952a.Workshop of a goldsmith: aka-sa_la, aga-sa_la,

aka-sa_liga, aka-sa_le a gold or silversmith; aka-sa_like the business of

a gold or silver smith; akka-sa_le, aka-sa_le the workshop of a goldsmith;

a goldsmith; akka-sa_liti a woman of the goldsmith caste (Ka.); akka-c-ca_lai a

shop where metals are worked (Ta.)(Ka.lex.)

Rebus: arka connotes the

sun and also saturn in Skt. kona_rka is a compound: kona, 'corner'; arka,

'sun'. arka also connotes fire in Skt. The equivalence of arka as sun and

Saturn, is noticed in Greek manuscripts: " ...as Boll discovered, this

practice of " correcting " the name of Saturn, from Helios to Kronos,

was quite common among later copyists. Based on his reading of the most

original Greek manuscripts, Boll drew a startling conclusion: the sun god

Helios and the planet-god Saturn were " one and the same god. " Now if

this only seems to accentuate the puzzle, there is more.

Hindu astronomical lore deemed the planet Saturn as Arka, the star

" of the sun. " And certain wise men of India often asserted that the

" true sun " Brahma, the central light of heaven, was none other than

Saturn. This in turn, reminds us of a rarely-noted teaching of the alchemists,

preservers of so many ancient mysteries. The planet Saturn, they recalled, was

not just a planet; it was " the best sun " ! " http://www.kronia.com/thoth/thoth10.txt

a_r..va_n- the sun (Ta.)(DEDR 396). aru sun (Skt.); yor (Kho.)(CDIAL 612). ravi

sun (Mn.Pali.Pkt.); rivi (Si.)(CDIAL 10646). ilaku (ilaki-) to shine, glisten,

glitter (Ta.); el sun, light, splendour (Ta.); lustre, splendour, light (Ma.);

ilakuka to shine, twinkle (Ma.); ilankuka to shine (Ma.)(DEDR 829). arka flash,

ray, sun (RV.); a_k sun (Mth.); akka sun (Pali.Pkt.); aka lightning (Si.);

vid-aki lightning flash (Si.Inscr.)(CDIAL 624). aks.an.a_ lightning (Skt.);

akkhan.a_ id. (Pali); akan.a, akun.a id., thunder (Si.)(CDIAL 27). pakal sun,

the morning sun, day, daytime (Ta.)(DEDR 3805). an:ki sun (Tirukka_l.at. Pu.

30,14); fire; agni (Kantapu. Pa_yira. 53); an:kicuma_li a

deity representing the sun, one of the tuva_taca_tittar (Ta.lex.)axrna_ to

warm oneself (by the fire, in the sun)(Kur.); awge to expose to the heat of the

sun or fire; awgre to bask in the sun, warm oneself to a fire (Malt.)(DEDR 18).

On the top left register

of the coin, teeth-of-comb are shown, comparable to the Sarasvati hieroglyph

Sign 176.

http://sites.google.com/site/kalyan97/_/rsrc/1230781636279/a-new-decipherment-paradigm/comb.jpg

V176

bakhor 'teeth of a comb' bakher 'homestead' (that is, a smallholding farm

with farmer's residence, exemplifying Balarama as a farmer bearing the hala

'plough').

Left to the teeth-of-comb

is shown a glyph which looks like a tabaernae montana flower (or like the normalised

version of the shrivatsa composite shown on sanci stupa). tagaraka 'tabernae montana' (Skt.); rebus:

tagaram 'tin' (Ta.)

If it is shrivatsa, the

rebus readings are: ayo 'fish' (Munda); ayas 'metal'; xola 'tail'; kol

'pancaloha, alloy of five metals'; kolel 'temple, smithy' (Ko.); dama 'cord';

rebus: dhamma 'dharma' (Pali)

See: Naga tradition in ancient India

" …the oldest examples

attesting to worship of the Pancavira vrshnis outside of the Northwestern

region are aniconic remains found in Besnagar. It has long been recognized that

the Besnagar Garuda Pillar inscription attests to the worship of Vasudeva in

circa the second/first century BCE. The inscription is carved on a pillar on

which the Garuda capital is to be inferred. (The inferences are based on two

inscriptions. See DC Sircar, Select Inscriptions I, pp. 88-89. J.

Agrawal, 'Vidisha Stone Pillar Inscription of the reign of Maharaja Bhagavata,

dated Regnal Year 12', Vishveshvaranand Indological Journal Vol. III,

1965, pp. 99-100). Garuda can easily be associated with Vasudeva Krishna (and

not necessarily Vishnu), since the chariot of this god is marked by the Garuda

standard, according to several passages in the Mahabharata. (See references in

DM Srinivasan, 'Vaishnava Art and Iconography at Mathura' in Mathura: The

Cultural Heritage, p. 385). This pillar, it has recently been shown, stood

beside other pillars with capitals at the Besnagar temple. Dr. Hartel has

perceptively argued that the two among the other pillars relate to two other

Vrishni. (Hartel, 'Early Vasuda Worship', pp. 576-580). To wit, the remaining

palm-leaf (taala) capital could have crowned a taala-dhvaja for

Samkarshana/Balarama and the crocodile or makara capital, a makara-dhvaja for

Pradyumna. From the evidence of three probable Vrishni pillars, Hartel

extrapolates to conclude that 'it is obvious that in this temple at

Besnagar…all the five heroes were worshipped'. Be it theree or five, Vrishnis were

worshipped in Madhya Pradesh, a place prone towards early support of Hero

Worship. " (Another Garuda pillar inscription was found at Bhilsa (see fn.10),

cf. Hartel 'Early Vasudeva Worship', p. 579, fn. 21). In Pawaya (M.P.) a

pre-Kushana taala votive emblem was found; see Archaeological Survey of

India, Ann. Report, 1914-15, p. 21, Pl. XVIc.) (Doris Srinivasan, 1997, Many

heads, arms and eyes: origin, meaning and form of multiplicity in Indian Art,

p. 216).

HÄRTEL, Herbert: Archaeological

evidence on the early Vasudeva-worship. In: Orientalia Josephi Tucci

memoriae dicata 2. Roma 1987, 573-587 (10 plates).

10

plates.

http://sites.google.com/site/kalyan97/_/rsrc/1230784441821/a-new-decipherment-paradigm/heliodoruspillar1.jpg

 

 

http://sites.google.com/site/kalyan97/_/rsrc/1230784527720/a-new-decipherment-paradigm/heliodorus-inscription.jpg

 

 

http://sites.google.com/site/kalyan97/_/rsrc/1230784268772/a-new-decipherment-paradigm/Heliodoruspillar.gif

 

 

Garuda

(Heliodorus) Pillar of Besnagar

The

first inscription of the Heliodorus pillar that was made by Heliodorus 110 BCE

" Devadevasa Va

[sude]vasa Garudadhvajo ayam

karito i[a] Heliodorena bhaga-

vatena Diyasa putrena Takhasilakena

Yonadatena agatena maharajasa

Amtalikitasa upa[m]ta samkasam-rano

Kasiput[r]asa [bh]agabhadrasa tratarasa

vasena [chatu]dasena rajena vadhamanasa "

– Original inscription.

 

" This

Garuda-standard of Vasudeva (Krishna or Vishnu), the God of GodsThe pillar was erected here by the

devotee Heliodoros, the son of Dion, a man of Taxila, sent by the

Great Greek (Yona)

King Antialkidas, as ambassador to King Kasiputra Bhagabhadra, the Savior

son of the princess from Benares, in the fourteenth year of his reign. "

The second inscription on

the pillar describes in more detail the spiritual content of the faith

supported by Heliodorus:

" Trini

amutapadani‹[su] anuthitani

nayamti svaga damo chago apramado "

– Original

inscription

" Three

immortal precepts (footsteps)... when practiced lead to heaven: self-restraint,

charity, consciousness. "

 

(Archaeological

Survey of India,

Annual Report (1908-1909).

Makara

hieroglyph: one of Kubera's navanidhi

http://www.scribd.com/doc/9649802/makarabharhut

The hieroglyph is a

ligature of many components connoting sacredness and wealth: principal

components are alligator and snail (cephalopod). Read rebus: nagara 'alligator,

temple'; hÄngi 'snail', sangha 'community'. Other ligaturing elements are:

trunk of elephant (ibha 'elephant'; rebus: ib 'iron'); fish (jhasa 'fish'; jasa

'prosperity'; ayas 'metal').

Temple, palace, fort

Meaning:

DEDR 3568 Ta. nakar house, abode, mansion, temple, palace, town, city. Ma.

nakar town, city. Tu. nagarů id. Te. nagaru palace; (Inscr.)

nakaramu temple; nagari-adhikÄri temple manager; navaru temple. / Cf. Skt.

nagara- town, city. Read on...http://www.scribd.com/doc/9649802/makarabharhut

[Guest guest]

Dear Kishore,I'm confused. The 1st photo cited in this articleis probably Krishna, and it's from Nepal (no plow, or cup -leg position & flute all attributes of K)and so stated in the article on Naga tradition referred to later,where it's correctly labelled "Krishna or Balarama (on)Nepal. Licchavi." The Hieroglyphs article took the wrongcaption.It's definitely not 2nd century. I haven't read the articlecarefully. Does the above affect the argument?KathieOn Jan 1, 2009, at 2:52 AM, kishore patnaik wrote:---------- Forwarded message ----------S. Kalyanaraman <kalyan97 >Thu, Jan 1, 2009 at 10:55 AM[bEF] Hieroglyphs depicted with Balarama on sculptures and on ancient coinshttp://sites.google.com/site/kalyan97/a-new-decipherment-paradigm Updated.Hieroglyphs depicted with Balarama on sculptures and on ancient coins

[Guest guest]

absolutely wrong identification of the Mathura sculpture as Balarama when it is Krishna borne by Garuda, playing a flute with Ganga and Jamuna on either side with their mounts makara and turtle. This type of gross error undercuts claim to genuine research scholarship by the advocates of a "Sindhu-Saraswati Civilization".

Pradip Bhattacharya PhD

[Guest guest]

I hope Kalyanji will replyKishore patnaik On Sun, Feb 1, 2009 at 12:12 PM, Pradip Bhattacharya <kanakpradip wrote:

 

 

 

 

 

 

absolutely wrong identification of the Mathura sculpture as Balarama when it is Krishna borne by Garuda, playing a flute with Ganga and Jamuna on either side with their mounts makara and turtle. This type of gross error undercuts claim to genuine research scholarship by the advocates of a " Sindhu-Saraswati Civilization " .

 

Pradip Bhattacharya PhD

 

 

 

-- Should you find yourself the victim of other people's bitterness, ignorance, smallness or insecurities, remember things could have been worse – you could be one of them!

[Guest guest]

This type of overreaction presuming Dr. Bhatttacharya is right and i am inclined to believe he is, cannot be regarded as a sober critique of the SSC. One must ask oneself what is the fundamental premise of the SSC.

The fundamental premise remains the presence of a mighty river flowing from the mountains to the sea during Rig vedic times. so much so that it is mentioned 50 times in the Rg. That remains an incontrovertible fact thanks to the satellite imagery and the subsequent painstaking work in delineating the paleo channel along the entire length of the Saraswati. That is literally the ground reality of the Sarasvati river and the consequent impossibility of an Aryan invasion after the dessication of the sarasvati beginning in 2500 BCE This constant harping on trivia is neither very seemly nor does it add to the discussion., alhough in this case , it appears that they may be right.

In fact i find it hard to understand why Indics would accept any other premise other than the (Vedic) SSC and why they feel a proprietary interest in the AIT and the corollary that the Harappan and Vedic eras were not contiguous in time and space. The indics do not have a large stake in the correctness of the AIT, but the Occidentals do. They have a deep aversion to the notion that there may have been migrations out of India, which means that the Indics were the forerunners of many of the languages of Europe. Hence arises their total obsession with a migration into india, that should be situated temporally as late as possible to permit the development of Indo 'aryans' prior to their dash across the Hindu Kush and their instantaneous transformation into the elite class of India.

OTOH, the indics have a far less onerous stake in the outcome of the debate, since most Indics are not obsessed with having an ancestor from Lithuania. Further the issue is not about migrations per se, which occurred fairly regularly even before the advent of recorded history, but the postulation of a peculiar migration very late in the recorded history of the planet, postulated solely to satisfy linguistic conjectures and for which there is not the slightest bit of archaeological evidence However, a history of a people ought to be accurate and that is reason enough to demand that the whole issue should be looked at dispassionately

On Sat, Jan 31, 2009 at 10:45 PM, kishore patnaik <kishorepatnaik09 wrote:

 

 

 

 

 

I hope Kalyanji will replyKishore patnaik On Sun, Feb 1, 2009 at 12:12 PM, Pradip Bhattacharya <kanakpradip wrote:

 

 

 

 

 

 

absolutely wrong identification of the Mathura sculpture as Balarama when it is Krishna borne by Garuda, playing a flute with Ganga and Jamuna on either side with their mounts makara and turtle. This type of gross error undercuts claim to genuine research scholarship by the advocates of a " Sindhu-Saraswati Civilization " .

 

Pradip Bhattacharya PhD

 

 

 

-- Should you find yourself the victim of other people's bitterness, ignorance, smallness or insecurities, remember things could have been worse – you could be one of them!

 

 

-- पà¥à¤°à¤¾à¤£à¤®à¤¿à¤¤à¤¿à¤µà¥à¤°à¥à¤¤à¥à¤¤à¤®à¤¾à¤–à¥à¤¯à¤¾à¤¯à¤¿à¤•à¥‹à¤¦à¤¾à¤¹à¤°à¤£à¤‚ धरà¥à¤®à¤¾à¤°à¥à¤¥à¤¶à¤¾à¤¸à¥à¤¤à¥à¤°à¤‚ चेतीतिहासः।Kosla VepaIndic studies Foundation948 Happy Valley Rd., Pleasanton, Ca 94566.USA indicstudies.us/icih_conf

webmaster925-271-4528 mobile:925-998-2529

[Guest guest]

Thanks to Dr. Pradip Bhattacharya for the correct identification.

Corrected the page:

http://sites.google.com/site/kalyan97/a-new-decipherment-paradigm

 

Regards,

 

kalyanaraman

 

, kishore patnaik

<kishorepatnaik09 wrote:

>

> I hope Kalyanji will reply

>

> Kishore patnaik

>

> On Sun, Feb 1, 2009 at 12:12 PM, Pradip Bhattacharya

> <kanakpradipwrote:

>

> > absolutely wrong identification of the Mathura sculpture as

Balarama

> > when it is Krishna borne by Garuda, playing a flute with Ganga and

Jamuna on

> > either side with their mounts makara and turtle. This type of

gross error

> > undercuts claim to genuine research scholarship by the advocates of a

> > " Sindhu-Saraswati Civilization " .

> >

> >

> > Pradip Bhattacharya PhD

> >

> >

> >

> >

>

>

>

> --

> Should you find yourself the victim of other people's bitterness,

ignorance,

> smallness or insecurities, remember things could have been worse –

you could

> be one of them!

>

[Guest guest]

{I am forwarding the mail received from Ms Doris Srinivasan, who is an acclaimed expert on Indo Iconography. She is not a member here but I called for her opinion on ths subject which is given below - kishore patnaik}

 

 

---------- Forwarded message ----------doris srinivasan <dmswhWed, Feb 4, 2009 at 5:42 AM

Re: Re: Fwd: [bEF] Hieroglyphs depicted with Balarama on sculptures and on ancient coinskishore patnaik <kishorepatnaik09

 

 

Dear Kishore :

 

I believe the email you sent touches on many aspects of the god Balarama including his depiction with a snake canopy, his attributes ( conch and mace) and his relation to Krsna . I have taken up the rationale for some of these depictions in a paper just published in 2008 .

 

Let me give you the full reference , plus , I have also copied the Abstract , below. See Religion and Art : New issues in Indian Iconography and Iconology , ed . Claudine Bautze-Picron, The British Association for South Asian Studies , London 2008 , pp. 93-104 . You will get a better understanding of the Jansuti Balarama illustrated in your email, plus I suppose the Patna Balarama ,which is one of three, the others being Vasudeva-Krsna and Ekanamsa ( that I published long ago " Early Krsna Icons: The Case at Mathura " in Kaladarsana , ed. Joanna Williams , AIIS , New Delhi , 1981 ).

 

 

 

Samkarsana / Balarama and The Mountain : A New Attribute

 

Doris Meth Srinivasan

State University of New York - Stony Brook

 

 

ABSTRACT

Balarama is a minor yet complex Hindu god . In all the vaisnava Puranas , he is mentioned alongside his more important brother, Krsna . Both may be considered partial incarnations of Visnu , or, when Krsna is regarded as the manifestation of Visnu , Balarama is Visnu' s seventh avatar. However, Balarama was not always in the shadow of the beguiling Dark Lord. Originally he was more important . In the Mahabharata , Rama is likely to refer to Balarama ( Parpola 2002, 367 ) .There is every indication that Balarama started out as a deity possessing powerful aspects derived from distinct spheres : the agricultural , the subterranean and the heroic . The god's original complexity is due to his fusing aspects stemming from folk lore and hero mythology into a richly nuanced nature . The earliest images of the god reflect this fusion: symbols relate to plowing the earth , to snakes below the earth and to authority and heroic strength . This paper adds a new attribute which demonstrates that originally Balarama was associated with a mountain that figured in one of Krsna's most famous miracles .

 

 

 

 

 

On Feb 3, 2009, at 1:20 AM, kishore patnaik wrote:

 

 

 

 

Dear Doris,

 

Hope you are doing well and I am good too.

 

I am forwarding a string of messages on heirglyphs for your kind consideration and expert opinion.

 

I would write a detailed letter to you soon,

 

best regards,

 

Kishore patnaik