Buddhist Pali-English dictionary

Why are yakṣá , yakṣiṇī dominant, frequently recurring art forms on Sanchi or Bharhut stupa tōraṇa friezes and on Begram ivories? I suggest that the artists, śilpi, architects are conveying the substantive identifier gloss with phonemic variants: śākya, sakka , sakkia -- to reinforce their lineage of the Buddha and/or adherance to Bauddham. The hieroglyphs deployed convey the semantics:1. śāˊkhā f. ʻbranchʼ RV.Pa. sākhā 'branch'; 2. hāngi (Kashmiri) sã̄khī 'mollusc, snail' (Bengali); 3, śaṅkula 'barb': śaṅkulā शङ्कुला [शङ्क्-उलच् Uṇ.1.93] 1 A kind of knife or lancet.-2 A pair of scissors.-Comp.-खण्डः a piece cut off with a pair of scissors.शङ्कुः [शङ्क्-उण् Uṇ.1.36] 1 A dart, spear, spike, javelin, dagger; The sharp head or point of an arrow, barb.(Samskritam) Hieroglyph on a Begram ivory plaque: a pair of molluscs tied with a chisel, barb: Tied: dhama ‘cord’ rebus: dhamma ‘dharma, virtuous conduct’ sangin ‘mollusc’ rebus: sangha ‘community’. Thus, dhamma guild has been identified by the hieroglyph multiplex. Bharhut molluscs centre-piece on tōraṇa Sanchi tōraṇa molluscs centre-piece on hieroglyph multiplexes flanking ibbo vaThAra, merchant quarter' The deployment of hieroglyphs of mollusc and tree branches on Sanchi artistic renderings of stupa friezes is intended to communicate -- rebus -- the substantive: śākya, sakka , sakkia : śākya m. ʻ a Kṣatriya clan in Kapilavastu to which the Buddha belonged ʼ. 2. śākiya -- BHS ii 525.1. Pa. sakya -- , sakka -- ; Pk. sakka -- , sakkia -- m. ʻ a Buddhist ʼ.2. Pa. sākiya -- , Si. sähä -- , sā̤ -- .(CDIAL 12375). These glosses are rebus-metonymy-layered signifiers (hieroglyphs) to signify hymonyms (similar sounding words but with different meaning) in (art forms: yakkha -- m. ʻ a supernatural being ʼ, yakkhī -- , yakkhiṇī - yakṣá , yakṣiṇī.

Yakkha is Pali form of Vedic yakṣa, 'quick ray of light'. Yakkha is an anthropomorphic representation of this ray of light, enlightening the viewer about the profundity and sacredness of dharma-dhamma. Commentator Neelkantha notes that Yaksha Prasna, were intended to ascertain the truth about Atman, differentiating Atman from the Self. Q: What is “Dhama”? A:“Dhama” is controlling the mind. This is one set of profound questions and answers excerpted from Yaksha Prasna, defining dhama as control of the mind which is also explained further by a synonym: yoga. The narrative for Kenopanishad is that once the divinities won a victory over the evil forces. The victory must have been credited to the power of the Absolute Brahman. Instead the divines thought that the victory was theirs. Brahman appeared before them in a visible form of a yaksha but they did not recognize the Absolute. Yaksha, yakkha is an anthropomorphic form of Brahman. Yaksha is the arbiter of Dharma. Hence, yakkha and yakkhini sculptures abound in ancient Hindu tradition. Yaksha poses questions on Dharma and Dharmaraja (Yudhishthira) answers. At the end of the question session, the Yaksha revealed himself to be Yama-Dharma, the god of death, who was none other than Yudhistira's father. He also admitted to Yudhistira that it was he who had stolen the ARANI in form of the deer. He blessed him,saying since he had adhered to Dharma (the righteousness), the Dharma shall protect them. Yaksha also assured the Pandavas tht nobody will recognise them during the Ajnata Vasa (life incognito for 12 years). See the monograph which provides many examples of sculptural representations of Yakkha, Yakkhini: http://bharatkalyan97.blogspot.in/2015/02/dharma-unites-bauddham-jaina-and-hindu.html Dharma unites Bauddham, Jaina and Hindu. Tracing srivatsa as Meluhha hieroglyph of Indus writing for wealth creation along the Tin Road

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

This monograph is an addendum to "A temple at Sanchi for Dhamma by a kāraṇikā sanghin 'guild of scribes' in Indus writing cipher continuum". http://bharatkalyan97.blogspot.in/2015/03/x.html A biographical note on Arthur Emanuel Christensen noted: "...Smeden Kāväh og det gamle persiske Rigsbanner (The smith Kāva and the old Persian royal standard; Det Kgl. Danske Videnskabernes Selskab. Historisk-filologiske Meddelelser 2/7, Copenhagen, 1919), on the legendary figure whose name resulted from a popular understanding of derafš-e kāvīān “royal standard,” in which the possessive adjective kāvīān “of the Kāvīs” was taken as a patronymic, Kāvak (NPers. Kāva)." (http://www.iranicaonline.org/articles/christensen-arthur-emanuel-b) A parallel narrative is reconstructed for the Cakravartin shown on a frieze in Jaggayyapeta: what is show is the narrative of a legendary figure of a smith-scribe-guild who became king. Just as Iranian tradition Kāvīs, 'poets' became smith Kāva, later kayanides royalty, the Indian tradition dhangar ‘blacksmith’ (Maithili) became thakur and later royalty. The hieroglyphs of Jaggayyapeta artifacts relate to metalwork, consistent with the identification in the Rigveda of Bhāratam Janam (RV 3.53.12), 'metalcaster people'. The Jaggayyapeta frieze details the wealth of a Cakravartin, universal ruler. An inscription (of Māḍharīputra-Śrī-Vīra-Purushadatta, of the race of Ikshvāku of 3rd cent. CE) found at Jaggayyapeta contained a reference to kammarashtram, the republic of kamma, 'artisans'."The theory is that the people who lived in the Krishna river valley, where Buddhism prevailed, got the name from the Theravada Buddhist concept of Kamma (in Pali) or Karma (in Samskritam). This region was once known as Kammarashtram / Kammarattam / Kammanadu, which was under the control of the Pallavas, Eastern Chalukyas and Cholas... Some historians opined that the name Kamma is probably derived from Kambhoja. Avadh Bihari Lal Avasthi comments as follows: We find Kambhi, Kamma, Kumbhi etc castes in South India. Possibly, there has also been a Kamboja country in Southern India. The Garuda Purana locates a Kambhoja principality/settlement in the neighborhood of Ashmaka, Pulinda, Jimuta, Narrashtra, Lata and Karnata countries, and also specifically informs us that this section of Kambojas were living in the southern part of India...pulinda ashmaka jimuta narrashtara nivasinah carnata kamboja ghata dakshinapathvasinah." http://maps.thefullwiki.org/Kamma_(caste)

A note on Indian sprachbund (language union) is at Annex A. Indus writing cipher is layered rebus-metonymy. The same cipher is used -- in art tradition -- on a number of hieroglyphs in a continuing artisan tradition on a Bharhut relief panel, on Sanchi stupa torana and scores of other examples of cylinder seals in Ancient Near East during the Bronze Age.. The hieroglyph compositions on Sanchi North torana announce that kāraṇikā sanghin 'guild of scribes' have created the writing system to convey the message of dhamma through sculptural narratives. There is a relief panel on a Bharhut sculptured pillar which celebrates a slab with a writing system. On the slab are displayed hieroglyphs of flowers, twigs and a tree. This slab is topped by another slab showing two gabbhā 'spathes', four X's, flanked by a pair of hieroglyph compositions: circular flowers, leaves, srivatsa symbol (a pair of fish tails fused and joined in a pinnacle). The pair of twigs signify badarī, zizyphus jujuba. The gloss is: kūdī, kūṭī ‘bunch of twigs’ (Samskritam). Layered rebus-metonymy cipher in the cyphertext provides for reading the plain text: kuṭhi 'smelter' (Santali) Rebus: గుడి [ guḍi ] guḍi. [Tel.] n. A circle. The name of the secondary form of the vowel ఇ. A temple.(Telugu) Four X's as hieroglyphs: దాటు [ dāṭu ] dāṭu. [Tel.] v. n. &a. To cross over, to pass over.n. A crossing (Telugu) Rebus: datu 'mineral (ore)' (Santali) gaṇḍa 'four' Rebus: kaṇḍa 'fire-altar'. Thus, the four X's signify: mineral fire-altar or furnace. The four X's PLUS a pair of spathes read: dhātugarbha (Samskritam), dhātu gabbhā (Pali) (Sinhalese dāgoba. The expression is equivalent to dhātu relics+garbha womb, inside. Thus, dāgoba is a dome-shaped shrine containing relics of the Buddha or a Bauddham arhant. This dāgoba is a guḍi, 'shrine' for veneration, worship. That a smithy is a temple is also declared by a Kota gloss: kole.l 'smithy' Rebus: kole.l 'smithy'. The use of X hieroglyph is explained on two pure tin ingots discovered in a Haifa shipwreck.

Indus Script hieroglyphs with 3 heads -- Tuisto, Father of Germanic people, tatara 'smelter' (Japanese) ṭhaṭherā 'brassworker' (Sindhi) Kubera ~Triśiras, son of Tvaṣţā Tuisto, Father of Germanic people (ca. 1st cent. BCE), is seen in the tradition of ṭhaṭherā 'brassworker' of Indus Script Corpora (ca. 3500 to 1900 BCE). Triśiras 'three heads' is a Rigveda metaphor linked to Tvaṣţā, the divine artificerr. Calling Triśiras a son of Tvaṣţā may be a metaphorical expression connoting the continuity of Rigveda artificer tradition. Triśiras as a hieroglyph-multiplex (hypertext) is deciphered as metalwork of Sarasvati - Sindhu civilization. The evidence from Indus Script Corpora for such hieroglyph-multiplexes are presented in this monograph.; The spread of Tvaṣţā tradition to Germanic people is seen in the commemoration of Tuisto as the Father of Germanic people. A sculptural evidence for Tuisto comes from a frieze on Pilier des Nautes (Pillar of Boatmen), dated to ca. 1st cent BCE. Intimations of this abiding cultural memory is seen on two artifacts: 1. A Mohenjo-daro seal m0304 with Indus Script with a three-headed person seated in penance surrounded by animals and 2. Tuisto, Father of Germanic people, seated in penance on Pilier des Nautes (Pillar of Boatmen). Together with the octagonal brick (yupa) found in Binjor yajna kunda, this evidence traced from historical narratives of Tuisto to the metaphor of Rigveda, the Indus Script Corpora are a Vedic cultural continuum. It has been demonstrated by the deciphered that the three-headed person on Seal m0304 was ṭhaṭherā 'brassworker'. This reference to ṭhaṭherā 'brassworker' is traceable to the etyma flowing in the Meluhha metalwork lexis of Indus Script Corpora (ca. 3500 to 1900 BCE) from Tvaṣţā, of Rigveda (of indeterminate date, perhaps earlier than 7th millennium BCE, given the Bhirrana chronology) and is seen as a continuum in the 1 CE evidence of Tuisto, on Pilier des Nautes (Pillar of Boatmen). Triśiras 'three heads' of person seated in penance Seal m0304 Tuisto (See Section3 for citations) seated in penance posture on Pilier des Nautes (Pillar of Boatmen) is comparable to the narrative of Tvaṣţā.of Rigveda (See Section 2 for ancient literature). Kubera ~Triśiras,son of Tvaṣţā.of Rigveda is identified in Indus Script hieroglyph of an animal with 3 heads.

The note discusses the possibility that Indus Script cipher tradition evidenced in Sanchi/Bharhut sculptural friezes also provides for signifying kārṣāpaṇá, 'Eng.cash, Kannada kāsu, copper pice'. The copper pice is so-called because it is derived in a smelting process from a fire-pit, straits: kārṣū, kāci. Such a smelting process is, perhaps, signified on a Harappa tablet h386 by a unique hieroglyph of two horizontal lines which occupies the entire field of one side of a tablet. In the expression,kārṣāpaṇá, paṇá, 'equivalent of 80 cowries'(Sinhalese) is a semantic determinant of the karsha as a 'coin, a unit of exchange value'. It is a debatable argument in linguistics if the Old Persian word karsha is cognate with and derived from the Samskrtam word, karsha, 'unit of weight, coin unit of money'. Since the rebus reading of 'khambhaṛā' (Lahnda) rebus: kammaTa 'mint, coinage' (Kannada) is attested in some Indus Script orthography of focus on 'fish-fins', it is likely that the word karsha meaning 'coin' was also a gloss in the metalwork lexis of Prakrtam, the spoken forms of the word. Some indications are provided by the phonetic forms in languages of the Indian sprachbund, such as: Ko. ka·c rupee. To. ko·s id. Ka. kāsu the smallest copper coin, a cash, coin or money in general. Tu. kāsů an old copper coin worth half a pie, a cash. Te. kāsu a cash, a coin in general, a gold coin, money. Go. (Ko.) kāsu pice -- all traceable to the word karsha 'a weight of silver or gold equal to 1⁄400 of a tulā' (Samskrtam). There is a possibility that the hieroglyph which could read rebus as kāci was an orthograph signifying 'furrow, ploughing'. Such a signifier is present in an Indus Script inscription: Harappa tablet h386. The hieroglyphs 'fish', 'water-carrier PLUS rim of jar', three linear strokes are read rebus: aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS 'khambhaṛā' (Lahnda) rebus: kammaTa 'mint' (Kannada) kuTi 'water-carrier' rebus: kuThi 'smelter' PLUS karNika 'rim of jar' rebus: karNI 'supercargo', karNIKa 'writer, engraver, account-keeper. On side h386E, two horizontal lines signify a furrow which can be read rebus: karṣūˊ -- f. ʻ furrow, trench ʼ (Vedic) rebus: karsha 'a unit of weight, a coin'. HARP team has discovered a potsherd at Harappa with Indus Script dated to ca. 3300 BCE making this perhaps one of the earliest writing systems of the world. Contemporary to this discovery is Proto-Elamite script which was used in southwestern Iran between c. 3400-2800 BCE, (See discussion at http://bharatkalyan97.blogspot.in/2013/07/ancient-near-east-transition-fro-bullae.html) Bronze Age revolution in metal crafts was complemented by a writing system to create document innovative processes in such metal crafts. (This five-petal flower may signify tabernae montana as a hieroglyph read rebus: tagaraka 'fragrant flower' (Samskrtam) rebus: tagara 'tin' (a mineral which alloys with copper to produce a hard alloy of bronze for castings, tools, weapons). The Bronze Age metallurgical discoveries of alloying and cire perdue (lost-wax) created an industrial revolution. The production of metal implements, weapons, pots and pans. The production of metal coins (copper, silver, gold) also rtransformed an exchange economy based on barter transactions into a market economy based on the use of 'money or cash'. There is considerable force in the argument that signs incised on pottery in the Pre-Harappan period did develop as glyphs used on Indus writing. Lal has shown that the signs continued in use after the Indus writing ceased to be used. It is not unreasonable to build on the assumption that the potter's marks provided sign-substratum for Indus writing and also for Proto-Elamite writing. Thus, Potts makes a reasoned statement: "If there is any connection between the corpus of Proto-Elamite signs used at the beginning of the third millennium and the later Harappan signary, I suggest it is via the medium of the potter's marks in use throughout the Indo-Iranian borderlands which absorbed certain signs of ultimate Proto-Elamite origin, some of which were in time incorporated into the Harappan script." (Potts, D.T., 1981, The Potter's Marks of Tepe Yahya, in: Paleorient, Vol. 7, Issue 7-1, p.116).. Thus, not only World Monetary History is born but a writing system evolved to describe the metallurgical techniques and mineral resources used to create metal products of exchange value. The roots of the word 'cash' in English are traced to Indus Script hieroglyph writing tradition. See: Indus Script hieroglyphs on early Magadha pre-karshapana 5 punch-marked coins 6th centBCE deciphered http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyphs-on-early.html The decipherment based on Indus Script cipher establishes the continuum of a writing system into the historical periods and use in ancient mints starting with pre-Mauryan janapadas. Such karshapana, ancient coins of ca. 7th cent. BCE are identified by the punch-marks which are Indus Script hieroglyphs. The English word 'cash' is derived from karsha. (C.A.S.Williams. Chinese Symbolism and Art Motifs. Tuttle Publishing. p. 76).So is, kAsu of Tamil, Malayalam, Kannada. D.R.Bhandarkar.indicates that nishka, krishnala (Vedic terms) as karshapana were stored in treasuries and the possibility that such coins were in vogue ca. 10th cent. BCE. (Bhandarkar, DR, Lectures on Ancient Indian Numismatics. Asian Educational Services. pp. 55, 62, 79). (Arabo-Pers. sekka), standardized units of metal used as a medium of exchange, first introduced into Persia by the Achaemenid Darius I (521-486 B.C.E.)"... a papyrus document from Egypt dating from the 5th century B.C.E. confirms that merchants paid “according to the stone (weight) of the king”: 1 kereš (O.Pers. karša) = 10 shekels, 1 shekel = 4 quarters, 1 quarter = 2 dānaka (O.Pers. *dānaka; attested in El. da-na-kaš; Cameron, p. 132; > Gk. dana′kē “obol,” i.e., one-sixth drachmḗ “drachma” > Mid.Pers. dāng, Pers. dāng“one-sixth”; Horn, Etymologie, no. 536; Bivar, p. 622)..." http://www.iranicaonline.org/articles/coins-and-coinage- Thus, it is seen that shekel which became a currency unit was preceded by kereš (O.Pers. karša) = 10 shekels. This kereš (O.Pers. karša) = 10 shekels, is related to the Samskrtam word karsha which meant 'a weight of silver or gold equal to 1⁄400 of a tulā' (Samskrtam). I suggest that the Latin and French cognate words together with Old Persian karša are derived from the Samskrtam gloss. Latin: capsa 'money box', French caisse, English cash, Portuguese caixa are thus derivatives from Samskrtam and OPersian karsha, 'a particular weight, money unit'. kārṣāpaṇá m.n. ʻ a partic. coin or weight equivalent to one karṣa ʼ. [karṣa -- m. ʻ a partic. weight ʼ Suśr. (cf. OPers. karša -- ) and paṇa -- 2 orāpana -- EWA i 176 and 202 with lit. But from early MIA. kā̆hā°]Pa. kahāpaṇa -- m.n. ʻ a partic. weight and coin ʼ, KharI. kahapana -- , Pk. karisāvaṇa -- m.n., kāhāvaṇa -- , kah° m.; A. kaoṇ ʻ a coin equivalent to 1 rupee or 16 paṇas or 1280 cowries ʼ; B. kāhan ʻ 16 paṇas ʼ; Or. kāhā̆ṇa ʻ 16 annas or 1280 cowries ʼ, H. kahāwan, kāhan, kahān m.; OSi. (brāhmī) kahavaṇa, Si. kahavuṇa, °vaṇuva ʻ a partic. weight ʼ.kāˊrṣāpaṇika ʻ worth or bought for a kārṣāpaṇa ʼ Pāṇ. [kārṣāpaṇá -- ]Pa. kāhāpaṇika -- , Or. kāhāṇiã̄.(CDIAL 3080, 3081) Ta. kācu gold, gold coin, money, a small copper coin. Ma. kāśu gold, money, the smallest copper coin. Ko. ka·c rupee. To. ko·s id. Ka. kāsu the smallest copper coin, a cash, coin or money in general. Tu. kāsů an old copper coin worth half a pie, a cash. Te. kāsu a cash, a coin in general, a gold coin, money. Go. (Ko.) kāsu pice (< Te.; Voc. 663). / ? Cf. Skt. karṣa-. (DEDR 1431) kāsi 'coin' (Sinhalese). The early Portuguese writers represented the native word by cas, casse, caxa, the Fr. by cas, the Eng. by cass: the existing Pg. caixa and Eng. cash are due to a natural confusion withCASH n.1. From an early date the Portuguese applied caixa (probably on the same analogy) to the small money of other foreign nations, such as that of the Malay Islands, and especially the Chinese, which was also naturally made into cash in English. (Yule)" ("Cash, n.²". Oxford English Dictionary (3rd ed.). Oxford University Press. September 2005.)The English word "cash," meaning "tangible currency," is an older word from Middle French caisse.(Douglas Harper (2001). "Online Etymology Dictionary"). https://en.wikipedia.org/wiki/Cash_(currency) In Latin, capsa means a “money box” (cf. OPers. Kshatrapavan = Satrap “an ancient Persian commercial and state confinement”) and a cognate word is: case which refers to a box. French word caisse means “money in hand, coin.” Old Persian karsha means “a unit of value equivalent to one cash coin” and "was first employed during the reign of Cyrus II followed by the establishment of the “formal” banking system and around the same time of the establishment of the credit and checking unions during the reign of Darius I who also minted the first face-coins." (Jean-Luc Dumont. "The Establishment of the Banking “Industry” – a 2500 Year Old Aryan ICH and Commercial Industry" |https://docs.google.com/document/d/1USeT6-9KtdA0zdQ73GGh-N_k9JYvUW7y-8zDnPdIhcM/edit?usp=sharing, ACHF, 2016.)

Do Indus Script inscriptions contain recorded weights of metal equipment, ingots produced? The answer is NO. While balances & weights were found in Mohenjo-daro, there is no indication that the Indus Script recorded weights; as a wealth accounting system, script hieroglyphs/hypertexts signify metals,minerals, alloys, mints, ingots, equipment, phaḍa, pattaḍa 'manufactories'. The earliest evidence for inscriptions certifying weights of objects is found in Persepolis, ca. 6th cent. BCE. “A weight made of diorite weighing 120 karsha (9.950 kg) with a trilingual cuneiform inscription certifying its weight, has also been found in Persepolis…One diorite weighs 60 karsha…One of these weights (weighing 2,222.425 grams) is preserved in the Oriental Institute in Leningrad. It is inscribed with a cuneiform text, as is the case on other weights, certifying its weight.” (Muhammad A. Dandamaev, Vladimir G. Lukonin, 2004, The Culture and Social Institutions of Ancient Iran, Cambridge Univ. Press, pp. 202=203). "In considering the variations of weights which is found, the view I take is that, whilst cases of deliberate fraud are rare, the balances used in those days were of primitive construction and only capable of rough weighing. Consequently, though the standards kept might be artistically and carefully finished, they would not be consistent amongst themselves according to our modern scientific ideas of accuracy.” ("A. S. Hemmy, Systems of Weights at Mohenjo-Daro, in: J. Marshall, ed.' Mohenjo-Daro and the Indus Civilization. Vol. 2 London: A. Probsthain, 1931, p.672). "Weight(s) and Measurements C, 2500 B.C. Place of Origin: Mohenjo-Daro Materials: Weight: Chert Balance: Copper Dimensions: Balance Stick : 12 x 0.3 cm Balance Plate: 15.7 x 5.7 cm Weight: Biggest: 2.4 x 2.4 x 1.8 cm Smallest: 0.7 x 0.7 x 0.6 cm Acc. No. DK-80/2604 and DK I-355/2605 (Balance) An index to an advanced stage of trade, and its essential element, the recovery of this balance and weights from Mohenjo-Daro suggests that Harappan settlers not only pursued systematic trade activities but also had in prevalence weights and measures ensuring accuracy, consistency, transparency and fairness of trade-system and commercial behaviour. Far ahead of the primitive measuring vessels of bartering goods Harappan settlers maintained consistent standards of weights and regularized weights' based pricing system. Though re-fabricated, this balance is estimated to be about four and a half millenniums old. These finds attest with great certainty the advanced stage of trade amongst Harappan settlers. The recovered weights range from the heavier ones with lifting rings attached to those of micro-miniaturised sizes used probably by jewelers for weighing precious metals, jewellery items and perhaps some rare and scarce spices. Harappan settlers seem to have decimal system in use for defining higher weights as also for measuring lengths. It seems some central authority controlled and ensured adherence to strict standards and fairness in trade and commercial activities. A large number of small rectangular blocks - both cubical and cylindrical made of tawny chert and marked with light grey bands, have been excavated from Harappa and Mohenjo-Daro. The archaeologists have identified these blocks as weights. Interestingly, all these finds are well finished and have polished faces. Occasionally they also have beveled edges, though none of them bears an inscription or mark indicating a weight and value. Along such weights Mohenjo-Daro excavations have also revealed a copper balance." http://www.nationalmuseumindia.gov.in/prodCollections.asp?pid=41&id=1&lk=dp1 :Cubical weights in graduated sizes.These weights conform to the standard Harappan binary weight system that was used in all of the settlements. The smallest weight in this series is 0.856 grams and the most common weight is approximately 13.7 grams, which is in the 16th ratio. In the large weights the system become a decimal increase where the largest weight is 100 times the weight of the 16th ratio in the binary system. These weights were found in recent excavations at Harappa and may have been used for controlling trade and possibly for collecting taxes. (Harappa Archaeological Research Project.7) https://www.harappa.com/slide/weights-harappa "The weights are precisely made, well polished and systematic (though unfortunately not inscribed with any Indus characters, which would have helped scholars to decipher the script's numerical system). Unique in the ancient world, the Indus weight system does not correspond to any of the weight systems used in Mesopotamia or Egypt. It has left a remarkable legacy in India. It provided the weight standards for the earliest Indian coins, issued in the seventh century BC. It was identical with the system used by the first Gangetic kingdoms around 300 BC (just prior to the reign of Asoka). And it still functions, in the third millennium AD, for weighing small quantities in traditional markets in both Pakistan and India." (Andrew Robinson, The Indus, p. 64). https://www.harappa.com/blog/ancient-indus-weights See: Contribution of Indus Script tradition 1. to 'cash' economy of the ancient world (World Monetary history) & 2. as a writing system to signify metalwork Mirror: http://tinyurl.com/zd4aatp The note discusses the possibility that Indus Script cipher tradition evidenced in Sanchi/Bharhut sculptural friezes also provides for signifying kārṣāpaṇá, 'Eng.cash, Kannada kāsu, copper pice'. The copper pice is so-called because it is derived in a smelting process from a fire-pit, straits: kārṣū, kāci. Such a smelting process is, perhaps, signified on a Harappa tablet h386 by a unique hieroglyph of two horizontal lines which occupies the entire field of one side of a tablet. In the expression,kārṣāpaṇá, paṇá, 'equivalent of 80 cowries'(Sinhalese) is a semantic determinant of thekarsha as a 'coin, a unit of exchange value'. It is a debatable argument in linguistics if the Old Persian word karsha is cognate with and derived from the Samskrtam word, karsha, 'unit of weight, coin unit of money'. Since the rebus reading of 'khambhaṛā' (Lahnda) rebus: kammaTa 'mint, coinage' (Kannada) is attested in some Indus Script orthography of focus on 'fish-fins', it is likely that the word karsha meaning 'coin' was also a gloss in the metalwork lexis of Prakrtam, the spoken forms of the word. Some indications are provided by the phonetic forms in languages of the Indian sprachbund, such as: Ko. ka·c rupee. To. ko·s id. Ka. kāsu the smallest copper coin, a cash, coin or money in general. Tu. kāsů an old copper coin worth half a pie, a cash. Te. kāsu a cash, a coin in general, a gold coin, money. Go. (Ko.) kāsu pice -- all traceable to the word karsha 'a weight of silver or gold equal to 1⁄400 of a tulā' (Samskrtam). There is a possibility that the hieroglyph which could read rebus as kāci was an orthograph signifying 'furrow, ploughing'. Such a signifier is present in an Indus Script inscription: Harappa tablet h386. The hieroglyphs 'fish', 'water-carrier PLUS rim of jar', three linear strokes are read rebus: aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS 'khambhaṛā' (Lahnda) rebus: kammaTa 'mint' (Kannada) kuTi 'water-carrier' rebus: kuThi 'smelter' PLUS karNika 'rim of jar' rebus: karNI 'supercargo', karNIKa 'writer, engraver, account-keeper. On side h386E, two horizontal lines signify a furrow which can be read rebus: karṣūˊ -- f. ʻ furrow, trench ʼ (Vedic) rebus: karsha 'a unit of weight, a coin'. HARP team has discovered a potsherd at Harappa with Indus Script dated to ca. 3300 BCE making this perhaps one of the earliest writing systems of the world. Contemporary to this discovery is Proto-Elamite script which was used in southwestern Iran between c. 3400-2800 BCE, (See discussion at http://bharatkalyan97.blogspot.in/2013/07/ancient-near-east-transition-fro-bullae.html) Bronze Age revolution in metal crafts was complemented by a writing system to create document innovative processes in such metal crafts. (This five-petal flower may signify tabernae montana as a hieroglyph read rebus: tagaraka 'fragrant flower' (Samskrtam) rebus: tagara 'tin' (a mineral which alloys with copper to produce a hard alloy of bronze for castings, tools, weapons). The Bronze Age metallurgical discoveries of alloying and cire perdue (lost-wax) created an industrial revolution. The production of metal implements, weapons, pots and pans. The production of metal coins (copper, silver, gold) also rtransformed an exchange economy based on barter transactions into a market economy based on the use of 'money or cash'. There is considerable force in the argument that signs incised on pottery in the Pre-Harappan period did develop as glyphs used on Indus writing. Lal has shown that the signs continued in use after the Indus writing ceased to be used. It is not unreasonable to build on the assumption that the potter's marks provided sign-substratum for Indus writing and also for Proto-Elamite writing. Thus, Potts makes a reasoned statement: "If there is any connection between the corpus of Proto-Elamite signs used at the beginning of the third millennium and the later Harappan signary, I suggest it is via the medium of the potter's marks in use throughout the Indo-Iranian borderlands which absorbed certain signs of ultimate Proto-Elamite origin, some of which were in time incorporated into the Harappan script." (Potts, D.T., 1981, The Potter's Marks of Tepe Yahya, in: Paleorient, Vol. 7, Issue 7-1, p.116).. Thus, not only World Monetary History is born but a writing system evolved to describe the metallurgical techniques and mineral resources used to create metal products of exchange value. The roots of the word 'cash' in English are traced to Indus Script hieroglyph writing tradition.