Human-Centric Computing in a Data-Driven Society

revealed in a divine pratimā of Vināyaka

-- Tridhātu Commander of armourer artisan guild commonwealth
Abstract

Fifth Century icon of Tridhātu Vināyaka is stellar cryptography related to an artisan guild which
operates on the corporate principle of social ethic of a shared commonwealth. Chanting of
Rgveda mantras starts with an invocation to this divinity.

Over 8000 Indus Script inscriptions of Sarasvati Civilization (so-called Harappan Civilization since
over 2000 of the 2600 archaeological sites are on the banks of River Sarasvati in Northwest
India) have been discovered. Decipherment of these inscriptions is finally completed and
validated as rebus renderings of wealth accounting ledgers by seafaring merchants and
lapidary- and metal-work of gems, jewels, minerals, metals and metal alloys during 4 millennia
from the days of Tin-Bronze Revolution from c. 4th millennium BCE. The Indus Script
hieroglyphic writing continues into historical periods on early punch-marked coins and on
Sohgaura Copper plate with bilingual inscriptions in Brāhmī i and Indus Scripts. The trefoil is a
hypertext composition of three dotted circles as three hieroglyphs to signify three metals,
copper, silver and gold convey a cryptographic message. The cryptographic composition of the
trefoil is an extraordinary device to communicate a lot of information in a hypertext pictograph.
This novel method of creating pictographs has value in creating new Artificial Intelligence-
based, modern cryptographic models for ensuring date security. This trefoil message is
validated by the ancient texts of ऋग्--वेद and शतपथ-ब्राह्मण which document an investiture
ceremony of embroidering trefoils on the shawls of priests of a yajna. The monograph presents
the archaeological evidence for an early human-centric computing in Ancient India, on the
banks of River Sarasvati, with over 2000 sites of a data-driven society of 4th millennium BCE
producing inscribed gems, jewels, metals and metal alloys of exquisite beauty. The products in
great demand along an ancient Tin Route between Hanoi (Vietnam) and Haifa (Israel) adding to
the Wealth of Nations.

A synonym of Vināyaka is Tridhātu, an expression which dates back to Rgveda times. Tridhā is
attested in विष्णुधर्मोत्तरपुराणर्म् | In a tradition which dates back to 5th century, data are encoded as
Indus Script hypertext ledgers to signify खरडा kharaḍā,'wealth-accounting activities of iron
smelter, manufactory.As millions of visitors pay homage, to the memory of a Divine
representation, the pratimā (icon) of MahāVināyaka of Gardez, Afghanistan, presents a
remarkable example of human-centric computing in a data-driven society for the last 15

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centuries. Pratimā (icons) of Hindu tradition communicate large data sets related to economic
activities of people, through hieroglyphs associated with the sculptural composition which are
interpreted using the Indus Script Cipher of rebus readings of Meluhha (Indian sprachbund, or
speech union) words.

त्रिधाकृतस्तेन महानुभाव संमंत्रित्रवप्रैः क्रतुशास्त्रत्रवज्रैः ।। ३८ ।।

इत्रत श्रीत्रवष्णुधमोत्तरे प्थमखण्डे माककण्डे यवज्रसंवादे िेताग्न्युत्पत्रत्तनाकम षट्् त्रिंशदु त्तरशततमोऽध्यायैः ।। ।। १३
६ ।।

Source: https://sa.wikisource.org/wiki/ विष्णुधर्मोत्तरपुराणर्म्/_खण्डः_१/अध्यायः_१३६

Translation: [Offered to] Revered (priest), wise counsellor who made three metal (products),
with wisdom and intelligence about (metallurgical) sciences. (First chapter, section 236 of

त्रवष्णुधमोत्तरपुराणम् in conversation with Markandeya on a process

called िेताग्न्युत्पत्रत्त "production of three metals.".the investiture ceremony
of the yajna is described in detail in शतपथ-ब्राह्मण of ऋग्--वेद | िरत
‘triplet, " relating to त्रित " , N. of a सामन् तरत्रत्तरीय-संत्रहता ii, 1,1,6;
मरिायणी-संत्रहता ii, 5,1; ताण्ड्य-ब्राह्मणxiv; लाट्यायनvii , 3 PLUS अत्रि
number three; gold (सूयकत्रसद्धान्त)|; [cf. Lat. igni-s ; Lith. ugni-
s ; Slav. ognj]; उत्-पत्रत्त production in general, profit,
productiveness,producing as an effect or result, giving rise to,
generating as a consequence occurrence, the being mentioned or quoted
(as a Vedic passage) (राजतरं त्रगणी , जरत्रमत्रन)

Sindhi. dhāī f. ʻ wisp of fibres added from time to time to a rope that is
being twisted ʼ, Lahnda. dhāī˜ f.(CDIAL 6773) The wisp of fibre or strand is signified by the dot
in a dotted circle. It is significant that such a symbol aspirate ‘tha’ sound, signifies ‘tha’
phoneme in Brāhmī script. Rebus reading in Meluhha is dhāv ‘red ore’, to signify, generally, a
mineral ore. Thus, the scribe, engraver who creaed the priest statue is conveying the message of
red ores. The fillet worn is an investiture of पोतृ प्/ओतृ or पोतृ, m. " Purifier”, N. of one of the 16
officiating priests at a yajna (the assistant of the Brahman; = यज्स्य शोधत्रयत्रट्ि सायण)(Rgveda).

Trefoil on the cloth worn by the Mohenjo-daro priest is: tri- 'three' PLUS dhāu 'metal'
(Prakrit) + vaṭṭa 'circle' (Tamil). hypertext reads rebus tridhā̆ vaḍ 'smelter of three metals'.
The embroidered decoration is made up of one, two, or three dotted circles.
Udavasânîyâ (closing offering) includes Traidhataviya ishti (Yajna involving three mineral
ores):
शतपथ-ब्राह्मण SBr.13.6.2.17. ...The Traidhâtavî is the final offering (Udavasânîyâ): the mystic
import is the process is as set forth in V, 5, 5, 6 seqq. As noted in V.5.5.7, the Traidhâtavî ends
with presentation of gold coins. Such gold coins are either tied as gold-bead-fillets on the
forehead and right shoulder of the priest or stitched on as embroidered adornments on the robe of
the priest.

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SBr. 5.5.7.16. Three gold pieces of a hundred mânas each are the sacrificial fee for this
(offering). He presents them to the Brahman; for the Brahman neither performs (like the
Adhvaryu), nor chants (like the Udgâtri), nor recites (like the Hotri), and yet he is an object of
respect. And with gold they do nothing, and yet it is an object of respect: Therefore he presents
to the Brahman three gold pieces of a hundred mânas each.
According to Sâyana, these 'satamânas' are similar to the round plate worn by the king during
the Consecration-ceremony; these plates (as the 'rukmas' generally, VI, 7, 1, 2 seq.) were
apparently used for ornament only, not as coins.

This monograph demonstrates, by deciphering the Indus Script hypertexts of the icon that
human-centric data are conveyed by four-armed, divine, MahāVināyaka. This cryptographic
representation is a recollection of the word त्रवनायक which is the name of particular invocatory
formulas recited over weapons (रामायण).

Thus the plain text of the ciphertext message conveyed is of a divinity who is the commander of
artisan armourer guilds engaged in the production of metal weapons.

Inscription on the pedestal of the pratimā (icon) dates it

to 5th cent. CE, the days of Shahi Khingala who
consecrated the divine MahāVināyaka (Brown, Robert
(1991), Ganesh: Studies of an Asian God, Albany: State
University of New Yorkpp. 50–55, 120).. His two lower
arms rest on two gaṇa-s; thus, he signifies that he is
guild-master of a guild. The pratimā is originally
from Sakar Dhar (formerly Shankar Dhar), North of
Kabul and ws relocated to dargah Pir Rattan Nath at
Kabul for worship. The inscription on the pedestal
reads: ‘This great and beautiful Mahā Vināyaka is
consecrated by the renowned Shahi King, the illustrious
Shahi Khingala.’
(Shakunthala Jagannathan and Nanditha
Krishna, Ganesha...The Auspicious... The
Beginning, Mumbai, 1992, p. 55 For photograph of
statue and details of inscription, see: Dhavalikar, M. K.,
1991, "Gaņeśa: Myth and Reality" in: In: Brown RL
(ed) Ganesh: studies of an Asian God. State University of
New York, pp.50,63.)

Rosetta stone for Indus Script is a Bactrian silver vase

of ca. 3rd millennium BCE

The tradition of iconographic metaphors dates back to the

Rosetta stone for Indus Script which is a Bactrian silver
vase ca. 3rd millennium BCE now in Miho Museum,
Japan.The vase presents images of Rgveda priests

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including one of the sixteen priests called Potr̥, 'purifier priest' pōtadāra, প োদ্দোর pōddāra
'assayer of metals'.

Cylindrical Cup with

Agricultural and Ceremonial Scene B act ri a Lat e 3rd - e arl y 2nd m i l l enni um B .C .E
S i l ver H -12.6 D-9.9 C ourt esy: Mi ho Museum

4
 Source: Image Courtesy Miho Museum.

[quot e]C at al ogue En t ry(B ac#007)

C yl i ndri cal C up wi th Agri cul t ural and C erem oni al S cene
· B act ri a
· Lat e 3rd - ea rl y 2nd m i l l enni um B .C.
· S i l ver
· H. 12.2 -12.6 cm , Di a. 9.5 -9.9 cm
· On t hi s exam pl e ,2 bearded and m ous t ached m al e b anquet ers we ari ng fi l l et s
i n t hei r bound l ong hai r ar e seat ed i n a row above m en and boys pl owi ng a
fi el d.
·
· The m ai n person age i n t hi s upper ro w, who fa ces l eft , i s di st i ngui shed by an
el l i pt i cal l y shaped bead on hi s fi l l et ; he al so wears a nec kl ac e and bra cel et
wi t h s i m i l ar beads, al l beari ng hat ch ed pat t erns t hat m i ght suggest vei ned
s t one s uch as ag at e. A robe wi t h very cl earl y r ender ed i ndi vi dual t uft s covers
one arm ent i r el y an d envel ops t he re ct a ngul ar form of hi s l ower body. The
m an's exposed ri gh t arm i s rai sed t o hol d a t al l foot ed beak e r t o hi s m out h
(t hi s i s t he onl y fi gure t o have a defi n e d m out h). In front o f hi m are a foot ed
frui t bowl , a pai r of t al l vessel s, and a s econd seat ed f i gure weari ng a robe
wi t h a herri ngbone pat t ern. The prop er r i ght arm of t hi s fi gure i s rai sed
t oward t he m ai n pe r sonage. Al so part of t hi s banquet i ng sce ne are fi ve ot her
s eat ed m al e fi gures, t hei r garm ent s di st i ngui shed al t ernat i ve l y by i ndi vi dual
t uft s or hori zont al r ows of hat chi ngs t h at form her ri ngbone pat t ern s. S om e
fi gures hol d beak ers and one rest s a han d on a l arge al t ar -l i ke rect angul ar
obj ect wi t h a crossh at ched pat t e rn.
·
· In t he s c ene bel ow, t wo pl ows are h el d by l ong -hai red m en weari ng sho rt
ki l t s wi t h herri ngbone pat t erns. B efo re t hem , nude y out hs hol di ng branches
at t em pt t o keep t wo pai rs of oxen und er cont rol . Anot her m a l e fi gure hol ds a
s quare obj e ct -perh a ps a box or even a d rum -under on e arm , and rai ses t he
ot her one. The fi gur es st and on freshl y s eeded eart h; bet w ee n t he ani m al s i s
an obj ect wi t h a w a vy -l i ne pat t ern and seed -l i ke el em ent s a l ong t he t op edge.
Al t hough di ffi cul t t o i nt erpret , t hi s cou l d i ndi cat e l andscap e i n vi ewed f rom
above or a v essel i n profi l e.

5
Whi l e i conogra phi c el em ent s such as t he garm ent s conne ct t he i m agery on
t hi s cup t o t he art of Mesopot am i a and E l am , cert ai n asp ect s of st yl e are v ery
di s t i nct i ve. In pa rt i c ul ar, a st rong i nt er e st i n t he pl acem ent of hum an and
ani m al fi gures i n sp ace i s m ani f est . The ox en i n t he backgro und are da rken ed
wi t h hat ched l i nes t o cl ear l y di st i ngui sh t hem from t hose i n t he foregrou nd.3
The m us cul ar shoul ders of t he hum an fi gures m ay be d epi ct ed i n profi l e or i n
t hree-qu art er vi ew, and t hey m ay hav e o ne rat he r t han t wo n i ppl es s howi ng.
The t wo pl ows, one seen from t he front and t he ot her f rom t he back, are
pl aced behi nd on e a nd i n front of t he ot her nude yout h. An i nt erest i n t he us e
of pat t erni ng t o defi ne t he t ext ures of g a rm ent s and obj ect s i s al so evi dent .

In s t yl e, t hi s cup i s cl osel y rel at ed t o a si l ver vessel i n t he Levy -Whi t e

col l ect i on.4 The m a i n personage i n a hu nt i ng scene t her e be ars a cl ose
res em bl anc e t o t he m ai n fi gure on t he p resent cup. H e i s be arded, wi t h a
wel l -del i neat ed m ou t h, and has el l i pt i ca l beads bot h i n hi s hai r and a round
hi s neck. A fi gur e w i t h si m i l ar feat ures appears on anot her cup, whi ch depi ct s
t he aft erm at h of a s uccessful hunt .5

Des i gns are i n ci sed i nt o an upper and l o wer r egi st er on t he wal l s of t hi s

s i l ver cup, wi t h t he upper regi st e r showi ng a ri t ual scen e an d t he l ower
regi s t er s howi ng a f arm i ng scene wi t h oxen. The uppe r regi s t er scen e has al s o
been t hought t o be a banquet i ng scene, b ut of t he ei ght seat e d fi gures, onl y
t he fi gure on t he f ar ri ght faci ng t o t he l eft i s shown wi t h food before hi m
and rai s i ng hi s cup t o hi s m out h. Thi s figure i s al so sh own wi t h hi s head,
neck and w ri st s wea ri ng j ewel s t hat app ear t o be onyx, and hi gher grad e of
cl ot hi ng, bot h cl earl y sym bol s of hi s hi gh rank. The fi gure d i rect l y i n front of
t hi s hi gh ranki ng fi gure i s shown i n a p osi t i on of obei sance , and he has
j ewel ry onl y on hi s head. The ot he r si x fi gures have no j ew el ry. These
devi ces cl e arl y a re t hought t o i ndi cat e t he respe ct i ve ranks of t hese fi gur es .
Thi s offert ory o r we l com i ng post ure can al so be seen i n t he l ast t wo fi gures
i n t hi s row.

The t wo oxen i n t he l ow er regi st e r ar e s hown pul l i ng pl ows duri ng a t i l l i ng

and pl ant i ng scene. The sm al l naked fi g ure wi el ds a st i ck t o urge on t he oxen,
and t here are cl ea r d i vi si ons drawn bet w een t he fi gur es hol di ng ont o t he pl ow
and t hos e sowi ng se eds. There ar e si m i l ar exam pl es o f si l ve r cups from t hi s
peri od wi t h hunt i ng scenes, and i n t he s am e m anner, t hos e who are t hought t o
be hi gh -ranki ng fi gu res ar e shown ado rn ed wi t h j ewel ry t ho ught t o be m ade
of onyx. Thi s body expressi on wi t h short ki l t ed ski rt and em phasi zed
m us cul at ure was cha ract e ri st i c of t he we st ern C ent ral Asi a t hrough East ern
Iran f rom t he 3rd m i l l enni um B C t hrough t he 2nd m i l l enni um B C . The
arrang ed hai r expres si on on t he forequa r t ers of t he oxen an d t he m uscul at ure
of t he back l egs are al so uni que t o B act r i a n cul t ure. The rui ns of a m assi ve
B act ri an fort of t hi s sam e peri od hav e b een ex cavat ed, al on g wi t h t em pl es
i ns i de t he fort and l arge num be rs of we apons, and we can t hus i m agi ne t he
exi s t ence of a rul e r who was powe rful b ot h i n pol i t i cs and in m i l i t ary m i g ht ,

6
al l whi l e act i ng as t he head cl eri c o f t he rel i gi on. These peo pl e di d not have
wri t i ng, but t hi s vessel cl earl y d epi ct s one aspect o f t hei r so ci et y.[unquot e]
http://www.miho.or.jp/booth/html/artcon/00000922e.htm
One of the priests on the silver vase is: Rgveda Potr̥, 'purifier priest' pōtadāra, প োদ্দোর pōddāra
'assayer of metals' https://tinyurl.com/rcurjut

Source of image: Courtesy Harappa.com

पोतृ प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a

sacrifice (the assistant of the Brahman ; = यज्स्य

शोधत्रयत्रट्ि सायण) RV. ब्राह्मण, Śrautasūtra, हररवंश; N. of त्रवष्णु (Monier-Williams) He wears a bead
on a fillet. *pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ
long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of
small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ
rather than < pōtrá -- 1.(CDIAL 8403). The garment he wears is: Ta. potti garment of fibres,
cloth. Ka. potti cloth. Te. potti bark, a baby's linen, a sort of linen cloth; pottika a small fine
cloth; podugu a baby's linen. Kol. (SSTW) pot sari. Pa. bodgid a short loincloth. / Cf.
Skt. potikā-, Pkt. potti-, pottiā-, etc.; Turner, CDIAL, no. 8400.(DEDR 4145) pōta2 m. ʻ cloth
ʼ, pōtikā -- f. lex. 2. *pōtta -- 2 (sanskrit- ized as pōtra -- 2 n. ʻ cloth ʼ lex.). 3. *pōttha -
- 2 ~ pavásta<-> n. ʻ covering (?) ʼ RV., ʻ rough hempen cloth ʼ AV. T. Chowdhury JBORS xvii
83. 4. pōntī -- f. ʻ cloth ʼ Divyāv. 5. *pōcca -- 2 < *pōtya -- ? (Cf. pōtyā = pōtānāṁ
samūhaḥ Pāṇ.gaṇa. -- pṓta -- 1?). [Relationship with prōta -- n. ʻ woven cloth ʼ lex., plōta -- ʻ
bandage, cloth ʼ Suśr. or with pavásta -- is obscure: EWA ii 347 with lit. Forms meaning ʻ cloth
to smear with, smearing ʼ poss. conn. with or infl. by pusta -- 2 n. ʻ working in clay ʼ (prob. ←
Drav., Tam. pūcu &c. DED 3569, EWA ii 319)]1. Pk. pōa -- n. ʻ cloth ʼ; Paš.ar. pōwok ʻ cloth
ʼ, pōg ʻ net, web ʼ (but lauṛ. dar. pāwāk ʻ cotton cloth ʼ, Gaw. pāk IIFL iii 3, 150). 2. Pk. potta --
, ˚taga -- , ˚tia -- n. ʻ cotton cloth ʼ, pottī -- , ˚tiā -- , ˚tullayā -- , puttī -- f. ʻ piece of cloth, man's
dhotī, woman's sāṛī ʼ, pottia -- ʻ wearing clothes ʼ; S. potī f. ʻ shawl ʼ, potyo m. ʻ loincloth ʼ;
L. pot, pl. ˚tã f. ʻ width of cloth ʼ; P. potṛā m. ʻ child's clout ʼ, potṇā ʻ to smear a wall with a rag
ʼ; N. poto ʻ rag to lay on lime -- wash ʼ, potnu ʻ to smear ʼ; Or. potā ʻ gunny bag ʼ; OAw. potaï ʻ
smears, plasters ʼ; H. potā m. ʻ whitewashing brush ʼ, potī f. ʻ red cotton ʼ, potiyā m. ʻ loincloth
ʼ, potṛā m. ʻ baby clothes ʼ; G. potn. ʻ fine cloth, texture ʼ, potũ n. ʻ rag ʼ, potī f., ˚tiyũ n. ʻ
loincloth ʼ, potṛī f. ʻ small do. ʼ; M. pot m. ʻ roll of coarse cloth ʼ, n. ʻ weftage or texture of cloth
ʼ, potrẽ n. ʻ rag for smearing cowdung ʼ.3. Pa. potthaka -- n. ʻ cheap rough hemp cloth
ʼ, potthakamma -- n. ʻ plastering ʼ; Pk. pottha -- , ˚aya -- n.m. ʻ cloth ʼ; S. potho m. ʻ lump of rag
for smearing, smearing, cloth soaked in opium ʼ.4. Pa. ponti -- ʻ rags ʼ.5. Wg. pōč ʻ cotton cloth,
muslin ʼ, Kt. puč; Pr. puč ʻ duster, cloth ʼ, pūˊčuk ʻ clothes ʼ; S. poco m. ʻ rag for plastering,
plastering ʼ; P. poccā m. ʻ cloth or brush for smearing ʼ, pocṇā ʻ to smear with earth ʼ;

7
 Or. pucā̆ ra, pucurā ʻ wisp of rag or jute for whitewashing with, smearing with such a rag
ʼ.(CDIAL 8400)

•
దారము dāramu. [Tel.] n. A thread, cord, string, rope. (Telugu) Brj. dãwrī f. ʻ rope
ʼL. ḍãvarāvaṇ, (Ju.) ḍ̠ãv˚ ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves
together ʼ, Or. daũ̈rā, daürā ʻ rope ʼ; Bi. daũrī ʻ rope to which threshing bullocks are tied, the act
of treading out the grain ʼ, Mth. dãmar, daũraṛ ʻ rope to which the bullocks are tied ʼ; H. dãwrī f.
ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to tread out the corn ʼ(CDIAL
6283) Ta. tār, tāram cord, rope. To. to·rm (obl. to·rt-) one string of bead necklace with several
strands, one thread of skein hanging from woman's armlet. Ka. dāra string,
thread. Tu. dāra id. Te. dāramu id., cord, twine. / ? < IA. Cf. Pkt. (DNM; Norman) dāra- waist-
band, girdle; cf. also Skt. davara(ka)- string, Turner, CDIAL, no. 6225. (DEDR 3167)davara m.
ʻ string ʼ Kalpas., ˚aka -- Jain., dōraka -- m. ʻ leather strap ʼ KātyŚr.com., ḍōra -- , ˚aka -- m.n.
BhavP.Pk. davara -- m., ˚riyā -- , dōra -- m., ˚rī -- f., ḍōra -- m. ʻ thread, string, mat fibre ʼ; Gy.
eur. dori f. ʻ string, rope, girdle ʼ; K. ḍora m. ʻ cord ʼ, ḍūrü f. ʻ string ʼ; S. ḍ̠oro m. ʻ kite string
ʼ, ḍ̠ori f. ʻ twine ʼ, ḍ̠orī f. ʻ string for drawing water ʼ; L. ḍor f. ʻ cotton rope ʼ, ḍorā m. ʻ string ʼ,
P. ḍor f., ḍorā m., ˚rī f.; WPah.cur. ḍorā ʻ rope ʼ, bhal. ḍoro m. ʻ black woollen girdle ʼ, ḍori f. ʻ
fillet in a woman's hair ʼ; Ku. ḍor, ˚ro, ˚rī ʻ string ʼ; N. ḍoro ʻ thread, line, path ʼ, ḍori ʻ rope,
tether ʼ (whence ḍoryāunu ʻ to lead ʼ); A. ḍol, ḍor ʻ string ʼ, ḍorā ʻ strip of cloth ʼ, ḍuri ʻ cord on
a seam ʼ; B. ḍor, ḍuri ʻ string, thread ʼ, Or. ḍora, ˚ri; Bi. ḍor, ˚rī ʻ rope ʼ; Mth. ḍor, ˚rī ʻ string,
lace ʼ; Bhoj. ḍorā ʻ thread ʼ, ḍori ʻ rope ʼ; Aw.lakh. ḍorā ʻ threads ʼ; H. dor, daur m. ʻ strings for
slinging irrigation -- basket ʼ, dorī, daurī ʻ rope to which a string of cattle are fastened (as
bullocks when threshing) ʼ, ḍor, ˚rī f., ˚rā m. ʻ thread, string ʼ (whence ḍuriyānā ʻ to lead with a
rope ʼ); G. dor m., ˚rɔ m., ˚rī f. ʻ string, rope ʼ, M. dor m., ˚rā m., ˚rī f., Ko. dorī, ḍo˚.
Addenda: davara -- [da -- reduced grade of √dā2 ʻ bind ʼ Burrow Shwa 42]
S.kcch. ḍorī f. ʻ string ʼ; WPah.kṭg. ḍōr m. ʻ rope ʼ, ḍoru m. ʻ string ʼ, A. ḍol (phonet. d -- ) also ʻ
rope ʼ AFD 207. -- Deriv. S.kcch. ḍorṇū ʻ to draw a line, mark ʼ; G. dorvũ (CDIAL 6225)

dāra1 m. ʻ rent, hole, cleft ʼ TāṇḍyaBr., dārī -- f. Suśr. [~ *dāla -- 1. -- &rcirclemacr; S. ḍ̠āru m.
ʻ fissure, cleft ʼ (or < *dāla -- 1); -- L. ḍār, (Ju.) ḍ̠ār, ḍ̠āl m. ʻ herd (of deer), flock (of birds),
flight (of locusts) ʼ semant. cf. dala -- 4.(CDIAL 6292)

पोटी pōṭī f (पोट्) In accounts. The name of the column containing the several money-amounts
of the articles set down.

पोतडी pōtaḍī f पोतडें n (पोतें) A bag, esp. the circular bag of goldsmiths, shroffs &c. containing
their weights, scales, coins &c.
पोतंडी pōtaṇḍī f A little thing (as a nut, a pebble,) or a small quantity (as of sugar, flour,
grain) put up in a corner of a cloth and confined by a knot; thus forming a knob or ball. 2
Medicaments tied up in a corner of a cloth, to be dabbed on the eye or other part: also a cloth
rolled up into a ball, heated, and applied to foment. v दे ,लाव, also पोतंडीनें or पोतंडीचा शेक.
पोतदार pōtadāra m ( P) An officer under the native governments. His business was to assay
all money paid into the treasury. He was also the village-silversmith.
पोतदारी pōtadārī f ( P) The office or business of पोतदार: also his rights or fees.

8
 पोतनिशी pōtaniśī f ( P) The office or business of पोतनीस.
पोतिीस pōtanīsa m ( P) The treasurer or cash-keeper.
पोतवडजमीि or पोतवड pōtavaḍajamīna or pōtavaḍa f A term applied in the डांग region to
माळजमीन in the third and last year of its cultivation after lying fallow for a term.
पोतां or त्ां pōtā or ntyāṃ or पोत्यात्रनशी ad (A low word of Bombay.) In person, in or by one's
own person.
पोतां pōtāṃ n C Vulgar for पोतें.
पोती pōtī f (पुिी S) A daughter. Pr. नाव तसी पोती खाण तसी माती. The word is confined in use.
पोतीपूनणिमा pōtīpūrṇimā & पोतें Properly पोवतीपूत्रणकमा &पोवतें.
पोतें pōtēṃ n ( or P) A sack or large bag. 2 The treasury or the treasure-bags of Government. 3
The treasure-bag of a village made up for the district-treasury.
पोतेखाद pōtēkhāda f Wastage or loss on goods (as on sugar &c.) from adhesion to the
containing sack or bag.
पोतेचाल pōtēcāla f (Treasury-currency.) The currency in which the public revenue is
received. 2 Used as a Of that currency; as पोतेचालीचा (रूपया-परसा- नाणें &c.) Coin or money
admitted into or issued from the Government-treasury; sterling money of the realm.
पोतेझाडा pōtējhāḍā m Settlement of the accounts of the treasury.
पोतेरें pōtērēṃ n A clout or rag (as used in cowdunging floors &c.) 2 By meton. The smearing
of cowdung effected by means of it. पो0 करून ट्ाकणें To treat with exceeding slight and
contumely.

প োদ্দোর pōddāra: a professional examiner of the genuineness of coins; a moneychanger; a

pawn-broker; a banker, a money-lender. প োদ্দোরর n. the profession of a coin-examiner or money-
changer or pawn-broker or banker or moneylender; (sarcas.) display of false authority or power.
ররর ধরে প োদ্দোরর see র3 । (Samsad Bengali dictionary)

Etyma from Praharaj, G.C. Purnnacandra Odia Bhashakosha. Cuttack: Utkal Sahitya Press,
1931-1940.

ପ ୋଦୋର୍— Podār [synonym(s): প োদ্দোর पोहार] ବ ୈବେ. ି. (ଫା. ବଫୌତା=ଭୁକର, ଖଜଣା;

ବଫାତାହାର=ବେ ରାଜସ୍ବ ଟଙ୍କା ପରୀକ୍ଷା କବର)— 1। ଟଙ୍କା କୃତ୍ରିମ କି ଭଲ ତାହା ପରୀକ୍ଷା କରି ା ଯକ୍ତି — 1. A
person who sets coins; poddar. 2। ତହ ିଲ୍ାଦ ର୍ କମମଚାରୀ—2. A cash keeper; cashier. 3। ଣିଆ; ସ୍ବର୍ଣ୍ମ
ବରୌପଯ ଯ ସାଯୀ ଣିକ— 3. Goldsmith; jeweller. 4। ମୁଦ୍ରା ଯ ସାଯୀ; ଅର୍ମ ଣିକ— 4. Money-
changer; banker.
ପ ୋଦୋରୀ— Podārī [synonym(s): প োদ্দোরী पोद्दारी] ବ ୈବେ. .ି (ଫା.)— ବପାୋରର କମମ— The work
or post of Poddār.

*pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long
straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of
small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ
rather than < pōtrá -- 1.(CDIAL 8403)

9
Ta. pōttu sapling, tender branch or shoot of tree; pōtu flower bud, freshness,
beauty. Te. bōda young of bird. Pa. pottid twig. Konḍa bōdel bride, young
lady. Kui podeli sapling, young green branch; bōda child. Kuwi pōde (F. S.) girl, (Su.) woman,
girl; (Isr.) pōti small girl; pōdi pōti small children, young boys and girls; (F.) pōdipōda boys
and girls. / Cf. Skt. pota- young of animal or plant; Turner, CDIAL, no. 8399.(DEDR 4587)

Ta. potti garment of fibres, cloth. Ka. potti cloth. Te. potti bark, a baby's linen, a sort of linen
cloth; pottika a small fine cloth; podugu a baby's linen. Kol. (SSTW) pot sari. Pa. bodgid a short
loincloth. / Cf. Skt. potikā-, Pkt. potti-, pottiā-, etc.; Turner, CDIAL, no. 8400.(DEDR 4515)

Script hypertext/hieroglyph: Dotted circle: दाय 1 [p= 474,2] dāya n. game ,

play Pan5cad.; mfn. ( Pa1n2. 3-1 , 139 ; 141) giving , presenting (cf. शत- , गो-); m. handing over
, delivery Mn. viii , 165 (Monier-Williams)

தாயம் tāyam :Number one in the game of dice; கவறுருட்ட விழும் ஒன் று என் னும்
எண். Colloq. (Tamil) rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral,
ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -
- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).
[√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu --
m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red
ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red
stone ʼ(whence dhā̆ vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to
iron ʼ); -- Si. dā ʻrelic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is
being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) धाव dhāva m f A certain soft, red stone. Baboons are
said to draw it from the bottom of brooks, and to besmear their faces with it. धावड (p. 250)
dhāvaḍa m A class or an individual of it. They are smelters of iron. In these parts they are
Muhammadans. धावडी (p. 250) dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or
relating to iron. (Marathi).
PLUS
Hieroglyph: vaṭṭa 'circle'.
Thus, together, the hypertext reads rebus dhā̆ vaḍ 'smelter'

The dotted circle hypertexts link with 1. iron workers called धावड (p. 250) dhāvaḍa and 2.
miners of Mosonszentjános, Hungary; 3. Gonur Tepe metalworkers, metal traders and 4. the
tradition of अक्ष-- पट्ल [p= 3,2] n. court of law; depository of legal document Ra1jat.
Thus, अक्ष on Indus Script Corpora signify documents, wealth accounting ledgers of metal work
with three red ores. Akkha2 [Vedic akṣa, prob. to akṣi & Lat. oculus, "that which has eyes" i. e. a
die; cp. also Lat. ālea game at dice (fr.* asclea?)] a die D i.6 (but expld at DA i.86 as ball --
game: guḷakīḷa); S i.149 = A v.171 = Sn 659 (appamatto ayaŋ kali yo akkhesu
dhanaparājayo); J i.379 (kūṭ˚ a false player, sharper, cheat) anakkha one who is not a gambler
J v.116 (C.: ajūtakara). Cp. also accha3. -- dassa (cp. Sk. akṣadarśaka) one who looks at (i. e.
examines) the dice, an umpire, a judge Vin iii.47; Miln 114, 327, 343 (dhamma -- nagare). --
dhutta one who has the vice of gambling D ii.348; iii.183; M iii.170; Sn 106 (+ itthidhutta &
surādhutta). -- vāṭa fence round an arena for wrestling J iv.81. (? read akka -- ).

10
దాయము (p. 588) dāyamu dāyamu. [Skt.] n. Heritage. పంచుకొనదగినతంత్రిసొముు . Kinship,
heirsh ాజ్ఞ తి ితమ ము. A gift, ఈవి. దాయము, దాయలు or దాయాలు dāyamu. [Tel.] n. A certain
game among girls. గవ్మ లాట; గవ్మ లు పాచికలు మొదలగువాని సంఖ్య .(Telugu)
ஏர்த்தாயம் ēr-t-tāyam , n. < id. +. Ploughing in season; பருவகாலத்துழவு.
(W.)காணித்தாயவழக்கு kāṇi-t-tāya-vaḻakku, n. < id. +. Dispute between coparceners
about hereditary land; பங் காளிகளின் நிலவழக்கு. (J.)தர்மதாயம் tarma-tāyam , n.
< id. + dāya. Charitable inams; தருமத்துக்குவிடப்பட்ட மானியம் . (G. Sm. D. I, ii,
55.)தாயம் tāyam , n. < dāya. 1. Patrimony, inheritance, wealth of an ancestor capable of
inheritance and partition (R. F.); பாகத்திற் குரிய பிதிரார்ச்சிதப்பபாருள் . 2.
Share; பங் கு. (யாழ் . அக.) 3. Paternal relationship; தந்ததவழிச் சுற் றம் .
(யாழ் . அக.) 4. A fall of the dice; கவறுருட்ட விழும் விருத்தம் . முற் பட
இடுகின் ற தாயம் (கலித். 136, உதர). 5. Cubical pieces in dice-play; கவறு.
(யாழ் . அக.) 6. Number one in the game of dice; கவறுருட்ட விழும் ஒன் று
என் னும் எண். Colloq. 7. Gift, donation; பகாதட. (யாழ் . அக.) 8. Good
opportunity; சமயவாய் ப்பு. (யாழ் . அக.) 9. Affliction, distress; துன் பம் .
(யாழ் . அக.) 10. Delay, stop; தாக்காட்டு. (W.) 11. A child's game played with seeds or
shells on the ground; குழந்தத விதளயாட்டுவதக. 12. Excellence,
superiority; மமன் தம. தாயமாம் பதுமினிக்கு (பகாக்மகா. 1,
28).தாயப்பதி tāya-p-pati n. < id. +. City or town got by inheritance;
தனக்கு உரிதமயாகக் கிதடத்துள் ள வாழிடம் அல் லது ஊர். தாயப்பதிக
ள் ததலச்சிறந் பதங் பகங் கும் (திவ் . திருவாய் . 8, 6, 9).தாயபாகம் tāya-
pākam, n. < dāyabhāga. 1. Division of an estate among heirs; ஞாதிகள் தம் முள்
பிரித்துக்பகாள் ளும் உரிதமப்பங் கு. 2. A treatise on the Hindu law of
inheritancebyJīmūtavākaṉa; பாகப்பிரிவிதனதயப்பற் றி ஜீமூத வாகனர் இயற்
றிய நூல் . 3. Chapter on the law of inheritance in the Mitākṣara of Vijñāṉēšvara, 12th c.
(R.F.); பன் னிரண்டாம் நூற் றாண்டில் விஞ் ஞாமனசுரர் இயற் றிய மிதாக்ஷர
த்தில் தாயவுரிதம தயப்பற் றிக் கூறும் பகுதி.தாயம் tāyam, n. < dāya. 1.
Patrimony, inheritance, wealth of an ancestor capable of inheritance and partition (R.
F.); பாகத்திற் குரிய பிதிரார்ச்சிதப்பபாருள் . 2. Share; பங் கு. (யாழ் . அக.) 3.
Paternal relationship; தந்ததவழிச் சுற் றம் . (யாழ் . அக.) 4. A fall of the
dice; கவறுருட்ட விழும் விருத்தம் . முற் பட இடுகின் ற தாயம் (கலித்.
136, உதர). 5. Cubical pieces in dice-play; கவறு. (யாழ் . அக.) 6. Number one in the
game of dice; கவறுருட்ட விழும் ஒன் று என் னும் எண். Colloq. 7. Gift,
donation; பகாதட. (யாழ் . அக.) 8. Good opportunity; சமயவாய் ப்பு. (யாழ் . அக.)
9. Affliction, distress; துன் பம் . (யாழ் . அக.) 10. Delay, stop; தாக்காட்டு. (W.) 11. A
child's game played with seeds or shells on the ground; குழந்தத விதளயாட்டுவதக.
12. Excellence, superiority; மமன் தம. தாயமாம் பதுமினிக்கு (பகாக்மகா. 1, 28).

11
Hieroglyphs/hypertexts of Indus Script on
this exquisite pratimā of Vināyaka (also called Gaṇeśa) of Gardez are:

panja 'feline paw' rebus: panja 'kiln, furnace'

kola 'tiger' rebus: kolhe 'smelter', kol 'working in iron', kole.l 'smithy, forge', kole.l 'temple'
karba, ibha 'elephant' rebus: karba, ib 'iron'
phaḍa फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of phaḍa, paṭṭaḍa ‘metals manufactory’
karaṇḍa mukuṭa ‘wicker-basket shaped crown’ to signify rebus: खरडा kharaḍā,'wealth-
accounting ledger', करडा karaḍā 'hard alloy of iron' Rebus: karaṇḍi 'fire-god' (Remo.Munda).

Broad strap antarīya ‘inner garment’ on Gardez Gaṇeśa pratimā is Indus Script hypertext to
signify metals (iron) manufactory of Sarasvati civilization. Amarakośa provides a synonym
for Gaṇeśa with the expression tri-dhātu, 'three minerals'.

The pratimā has vivid iconographic details to further elaborate on the metaphor of Gaṇeśa an
iron smelter, a wealth-accounting ledger keeper, a scribe.

Gaṇeśa wears an unusual crown, shaped like a wicker basket. The rebus reading of the crown
worn by Gaṇeśa is karaṇḍa hieroglyph करं डी karaṇḍī f (Dim. of करं डा) A little covered basket
of bamboo. karaṇḍa 'wicker-basket' rebus: करडा karaḍā 'Hard from alloy--iron, silver &38' A
similar sounding word signifies that Gaṇeśa is a scribe, writer: खरड kharaḍa f (खरडणें) A
hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch.खरडा kharaḍā a day-
book; a note-book. Thus, Gaṇeśa is keeper of a day-book, wealth-accounting ledger.

These metaphors are conveyed by the karaṇḍa-shaped mukuṭa 'crown' worn by Mahāvināyaka of
Gardez. Elephant trunk: karibha, ibha 'elephant' rebus: karba, ib 'iron'; ib 'stylus' (as in English
nib of stylus).

Gaṇeśa wears a yajñopavita, 'sacred thread' adorned with a cobra-hood:phaḍā'cobra hood'rebus

phaḍā,paṭṭaḍe 'metals manufactory'. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle
'blacksmith. panja 'claw of beast, feline paw' rebus: panja 'kiln'.

12
Thousands of Gaṇeśa pratimā also show a mouse:mūṣa 'mouse' rebus: mūṣa 'crucible'. Thus,
Gaṇeśa is an iron worker producing crucible steel. This metallurgical competence makes him the
leader of the guild, ironworker guild-master,

We suggest that the paw of a feline is signified below the feline's face; the word is panja 'claw,
paw' rebus: panja 'kiln' of metals manufactory: *pañjāpāka ʻ kiln for a heap ʼ. [*pañja -- , āpāka -
- ]P. pañjāvā, pãj° m. ʻ brick kiln ʼ; B. pãjā ʻ kiln ʼ, G. pajāvɔ m (CDIAL 7686) panzĕ पन्ज़्य m.
the wound made by an animal's claw (cf. panja) (Kashmiri678). panja पंज । पञ्चसंख्यात्मकैः,
अङ् गुत्रलपञ्चकसंघैः m. an aggregate of five; a five (in cards, on dice, or the like); the hand with the
five fingers extended (cf. atha-po, p. 61b, l. 2) (Gr.M.); the paw or claw of beast or bird (Gr.M.;
Rām. 41, 61, 697-8, 73; H. xii, 16-17). -- dyunu ; ।पञ्चकाघातैः m.inf. 'to give the five', i.e. to
strike with the five fingers, to scratch with the five finger-nails or (of a wild beast) to tear with
the claws. -ʦoṭu ; । त्रिन्नपञ्चशाखैः adj. (f. -ʦüṭü ), one whose fingers, toes, or claws have all been
cut off (of man, beast, or bird). panjī पंजी f. a bird's talon (El.); the five fingers
(El. panjih, cf. panja; W. 114, panji).(Kashmiri) *pañja- ʻ heap ʼ *pahuñca ʻ forearm, wrist ʼ.
L. pôcā m. ʻpaw ʼ, (Shahpur) paucā m. ʻ paw, claw ʼ; P. pahũcā m. ʻ wrist, paw ʼ;
N. paũjā ʻ paw ʼ; OAw. pahuṁcihi obl. sg. f. ʻ wrist ʼ; H. pahũcā m. ʻ forearm, wrist ʼ;
G. pɔ̃hɔ̃cɔ m. ʻ wrist ʼ, M. pohãcī f. PĀ1 ʻ drink ʼ: pa -- 1, pāˊtra -- , pāˊna -- , pānīˊya -- ,
pāyáyati, *pipāsaka -- , pipāsāˊ -- , pipāsitá -- , píbati, pītá -- 1, pīyátē, pēya -- ; āpāna -- 1,
nipāna -- , prapāˊ -- . PĀ2 ʻ protect ʼ: pa -- 2, pā -- ; *āpāna -- 2. pā -- in cmpds. ʻprotecting ʼ:
adhipāˊ -- , tanūpāˊ -- , paśupāˊ -- ; -- pa -- 2. Addenda: *pahuñca: S.kcch. paũco m. ʻwrist ʼ,
WPah.kṭg. pɔnj̈ɔ m.(CDIAL 8018).

Gaṇeśa signified by फड, ‘a cobrahood’ on his body is the फडत्रनशी or सी phaḍaniśī or sī ‘The
office or business of फडनीस’. फडनीस phaḍanīsa (Hindi) 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. (त्रनसणें) Sum, substance, essence; the extract or excerptum; the good portion
picked out. v काढ, त्रनघ. 2 Scrutiny or close inquiry into. v कर, काढ, पाह, पुरव g. of o. 3 नीस is
sometimes used as ad or in comp. with the sense Essentially or purely, i. e. altogether, utterly; as
नीस नंगा Wholly bare, void, or destitute (of money, decency &c.) ; नकलनत्रवशी nakalanaviśī or -
त्रनशी f ( P) The office or business of नकलनवीस.nakalanavīsa or -नीस m (Punjabi) A transcriber
or copyist. (Marathi)
Gaṇeśa is the account-in-charge recording wealth of a nation.

Hieroglyph: *ḍambharūpa ʻ young animal ʼ. [ḍimbha -- 3, rūpá -- ]N. ḍambaru, ḍammaru ʻ

tiger's cub (CDIAL 5533

Rebus: dhāu red ore: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore
(esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ
threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -
- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk
ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ;

13
M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆ vaḍ m. ʻ a caste of iron -- smelters
ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added
from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773).

Hieroglyph: पांडा pāṇḍā m (Esp. with वाघाचा preceding.) A tiger's cub, esp. as half-grown;

Hieroglyph: पाण्ड् व n. an uncoloured woollen garment (शतपथ-ब्राह्मण)

-- kul 'tiger' + pã̄ḍā, pã̄ḍyā ʻhalf-grown tiger-cub' rebus: कुळ kuḷa 'village' kol 'ironsmelter'
+ पांया pāṇḍyā 'customs registrar'. Scores of Indus Script inscriptions document tiger
narratives which are catalogues of export trade products from Meluhha artisans.

दे शपांड्या dēśapāṇḍyā m An hereditary officer of a Mahál. He is under the Deshmukh.

His office nearly corresponds with that of कुळकरणी under the पाट्ील. He is the same as
दे शकुळकरणी दे शकुळकरण dēśakuḷakaraṇa n The office of दे शकुळकरणी.dēśakuḷakaraṇī
m An hereditary officer of a Mahál. He frames the general account from the accounts of
the several Khots and Kulkarn̤ís of the villages within the Mahál; the district accountant.
कुळकरण kuḷakaraṇa n The office or business of कुळकरणी. kuḷakaraṇī m (कुल & कारणी
S) An officer of a village under the पांट्ील. His business is to keep the accounts of the
cultivators with Government and all the public records. कुल kula n (S) Family, race,
tribe. 2 S A herd or flock.

-- Tiger & related narratives as hypertexts of Indus Script, iconographic metaphors for
iron smelter and metalwork catalogues

-- कुळ kuḷa 'village' + पांया pāṇḍyā 'customs registrar'

Hieroglyph: tiger: కోలు kōlu. [Tel.] adj. Big,

ద
great, huge పె .ద కోలుపులి or కోలుు లి a royal tiger. (Telugu) कोला kōlā m (Commonly
कोल्हा) A jackal. For compounds see under कोल्हे . कोल्हा kōlhā m A jackal, Canis
aureus. Linn. Pk. koṭṭhu -- m.; Si. koṭa ʻ jackal ʼ, koṭiya ʻ leopard ʼ GS 42; -- Pk. kolhuya -
- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H. kolhā, ˚lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ;
G. kohlũ, ˚lũ n. ʻ jackal ʼ, M. kolhā, ˚lā m.(CDIAL 3615)(Santali)

14
Hieroglyph: pādú m. ʻ foot (?) ʼ RV. 10, 27, 24. [It is difficult to ascribe the persistent occurrence
of u and v in the word for ʻ foot ʼ and many derivatives only to incorporation of a final -
- u resulting from pādō nom. sg. of pāˊda -- . On the other hand pādú -- (cf. *padu -- ), though
occurring only once in RV. prob. as ʻ foot ʼ and once in MānGr̥. as ʻ place ʼ, does give pāˊdukā --
ʻ shoe ʼ known to Pāṇini and pāduka -- ʻ little foot ʼ in Pali. Nevertheless it remains doubtful
whether all or indeed any of the NIA. words listed below descend from pādú -- rather than pāˊda
-- . <-> pád -- 2]Pa. pāduka -- ʻ little foot ʼ; Gy. arm. pav ʻ foot ʼ, pal. pau ʻ foot, leg ʼ;
Dm., pâwá ʻ sole of foot ʼ; K. pāv m. ʻ foot (of centipede) ʼ, pôwu m. ʻ step in a staircase ʼ;
L. pāvā m. ʻ foot of bedstead ʼ, awāṇ. pāvā ʻ foot of sheep, leg of bedstead ʼ;
P. pāvā, pāvã, pāmā m. ʻ foot of bed ʼ; Ku. pau ʻ foot ʼ, N. pāu; A. pāw ʻ feet, legs ʼ;
MB. pāwa ʻ foot ʼ, OAw. pāūṁ, dir. pl. pāvaṁ m., Bhoj. pãw; H. pāu, pãu m. ʻ foot, leg,
footprint ʼ; OMarw. pāva, pāṁva m. ʻ foot ʼ; -- ext. with -- ḍ -- : P. pāuṛ, pauṛ, m. ʻ hoof ʼ;
WPah.jaun. pāuṛ ʻ stone steps ʼ (~ paiṛ); H. pãuṛī f. ʻ fetters ʼ; G. pāvṛɔ m. ʻ iron step of a
carriage, notch in a tree, pedal, leg ʼ, pāvṛũ n. ʻ step ʼ; -- with -- ll -- : G. pāvlũ n. ʻ foot ʼ.pāˊdukā
-- ; *pāduvanta -- ; *vipādukā -- .Addenda: pādú -- : WPah.kṭg. pau m. ʻ foot, bedpost ʼ,
J. pãw m.; with ext. OP. paüṛī f. ʻ step, rung ʼ, P. pauṛī; Ko. pāul ʻ footprint ʼ, pāvli ʻ 1/4 rupee
ʼ, pāvṭi ʻ footstep ʼ -- also rather < pāˊda -- . (CDIAL 8075)

Rebus: पाडा pāḍā A hamlet or a cluster of houses of agriculturists. A ward or quarter of a town.
Morphological variants of this word in many languages of Ancient India are: Ta. pāṭi town, city,
hamlet, pastoral village; pāṭam street, street of herdsmen. Ma. pāṭi (in n.pr. of
villages). Ka.pāḍi settlement, hamlet, village. Koḍ. pa·ḍi hut of a Kurumba. Te. pāḍu village (at
the end of names of places). / Cf. Skt. pāṭaka- a kind of village, half a village (from which are
borrowed Ta. pāṭakam street, section of a village, Ma. pāṭakampart of a village); Turner, CDIAL,
no. 8031, to which add Mar. pāḍā hamlet or cluster of houses of agriculturalists (also Guj.,
Beng., etc.); MBE 1974a, p. 132, n. 17. DED 3347. (DEDR 4064) pāṭaka m. ʻ quarter of a town
or village ʼ. [← Drav. T. Burrow BSOAS xii 383, but perh. same as pāṭa<-> EWA ii
245]S. pāṛo m. ʻ quarter of a town, vicinity ʼ; H. pāṛā m. ʻ quarter of a town ʼ.Addenda: pāṭaka -
- m. ʻ kind of village, part of village ʼ lex. [MIA. pāḍa(ya) -- ʻ quarter, street ʼ ~ Drav.
Tam. pāṭa(ka)mid. DED 3347 and perh. conn. pallī -- 1 ← Drav. DED 3309]Pk. pāḍa --
, pāḍaya -- m.; A. pārā, B. pāṛā, Or. paṛā, H. pāṛā m., M. pāḍā m. (CDIAL 8031) pāṭa m. ʻ
breadth, expanse ʼ lex., ˚aka -- m. ʻ long span, flight of steps ʼ lex. [√paṭ1?]Pa. pāṭikā -- f. ʻ stone
steps ʼ; Pk. pāḍaa -- m. ʻ road ʼ; Kho. (Lor.) pāḷ ʻ resting -- place in a cliff, ledge ʼ (or poss. <
*pādaḍa -- ); L. pāṛ m. ʻ pit sunk to the sand in which a well is built ʼ, (Shahpur) ʻ hole made by
thief in a hedge ʼ, pāṛā m. ʻ space left in ploughing ʼ, awāṇ. pāṛ ʻ hole ʼ; P. pāṛā m. ʻ space,
space between two lines of ploughed land ʼ; N. pāro ʻ shaft in handle of khukri or any instrument
ʼ, kan -- pāro ʻ temple, brow, gill ʼ (: kān ʻ ear ʼ); H. pāṛ(ā) m. ʻ scaffold, wooden frame over a

15
well ʼ. (CDIAL 8030) padrá m. ʻ village, road in a village ʼ lex. [← Drav. cf. Kur. padda ʻ
village ʼ? -- Whether or not connected with pallī1 (also ← Drav.), scarcely, with EWA ii 236,
hyper -- sanskritism for this, since NIA. forms attest early padra -- ]Pk. padda -- n. ʻ site of a
village, small village ʼ; B. pāṛā ʻ quarter of a village ʼ; Or. paṛā ʻ quarter of a town or village,
village ʼ; H. pāṛā m. ʻ quarter of a town ʼ; G. pādar n. ʻ gate of a village, confines of a village,
uncultivated land near a village ʼ.*vaṭapadra -- .Addenda: padrá -- : with Pk. padda -- ,
G. pādar (= S.kcch. padhar m. ʻ confines of a village ʼ) same as or X *paddhara -- ? -- and to be
distinguished from B. pāṛā, Or. paṛā, H. pāṛā (= A. pārā ʻ settlement, quarter of a village ʼ)
< pāṭaka -- . (CDIAL 7780) *padu ʻ place, quarter ʼ. [Contained in padavīˊ -- m. ʻ place (?) ʼ
RV., ʻ footsteps, way ʼ MBh., ʻ place ʼ R. <-> pád -- 2]S. pãũ m. ʻ ace in dice (i.e. a quarter of
the highest throw of 4 dots) ʼ, P. pau m., N. pau, Or. paa, OAw. paü m., H. pau f., G. po m.,
M. pav, pau m. (CDIAL 7764) Ta. paṭṭi cow-stall, sheepfold, hamlet, village; paṭṭam sleeping
place for animals; paṭṭu hamlet, small town or village; paṭṭiṉam maritime town, small
town; paṭappu enclosed garden; paṭappai id., backyard, cowstall. Ma. paṭṭi fold for cattle or
sheep. Ko. paṭy Badaga village. To. oṭy id. (< Badaga haṭṭi). Ka. paṭṭi pen or fold, abode,
hamlet; paṭṭa city, town, village. Tu. paṭṭů nest. Te. paṭṭu abode, dwelling place. / Cf.
Turner, CDIAL, no. 7705, paṭṭana- (DEDR 3868) वाडा vāḍā m (वाट् or वाट्ी S) A stately or
large edifice, a mansion, a palace. Also in comp. as राज- वाडा A royal edifice; सरकारवाडा Any
large and public building. 2 A division of a town, a quarter, a ward. Also in comp.
as दे ऊळवाडा, ब्राह्मण- वाडा, गौळीवाडा, चांभारवाडा, कुंभारवाडा. 3 A division (separate portion) of
a मौजा or village. The वाडा, as well as the कोंड, paid revenue formerly, not to the सरकार but to
the मौजेखोत. 4 An enclosed space; a yard, a compound. 5 A pen or fold;
as गुरांचा वाडा, गौळवाडा or गवळीवाडा, धन- गरवाडा. The pen is whether an uncovered enclosure
in a field or a hovel sheltering both beasts. वाडी vāḍī f (वाट्ी S) An enclosed piece of meaand
keepers. dow-field or garden-ground; an enclosure, a close, a paddock, a pingle. 2 A cluster of
huts of agriculturists, a hamlet. Hence (as the villages of the Konkan̤ are mostly composed of
distinct clusters of houses) a distinct portion of a straggling village. 3 A division of the suburban
portion of a city.(Marathi)

Many forms of Tridhātu Gaṇapati in Bhāratīya Itihāsa

Unique iconography deploying the cryptography of Indus Script hieroglyphs for rebus rendering
is a tradition that goes back to 1) 7th millennium BCE, days of Rgveda and 2) Tin-Bronze Age
Revolution of 4th millennium BCE as evidenced by ligatures animals in Sarasvati Civilization
(all of which are explained as Indus Script hypertexts):

16
Une tête d'éléphant en terre cuite de Nausharo (Pakistan)
In: Arts asiatiques. Tome 47, 1992. pp. 132-136. Jarrige Catherine
http://www.persee.fr/web/revues/home/prescript/article/arasi_0004-3958_1992_num_47_1_1330
The elephant head ligatured with a buffalo at Nausharo is a curtain-raiser for the practice of
ligaturing in Indian tradition for utsava bera 'idols carried on processions'. The phrase utsava
bera denotes that processions of the type shown on Mesopotamian cylinder seals or Mohenjo-
daro tablets are trade processions for bera 'bargaining, trade'. Thus, the processions with
hieroglyphs may be part of trade-exchange fairs of ancient times. It is significant that the utsava
bera of Ganesa is shown together with a rat or mouse -- as vāhana: ibha 'elephant' Rebus: ib
'iron'. mūṣa 'rat, mouse' Rebus: mūṣa 'crucible'. Thus both rat/mouse and elephant face ligatured
to a body, are Meluhha hieroglyphs related to metallurgical processes.

Gaṇapati is invoked as kavi in R̥gveda. (See RV 2.23 sūkta -- gaṇānāṃ tvā gaṇapatiṃ
havāmahe kaviṃ kavīnām upamaśravastamam -- with translation appended). Gaṇapati is
invoked because he is the founder of yajña. See:
Indus Script Corpora document metalwork fashioned by yajña -- Yajurveda; performed with
śraddhā by kārmāra, 'smiths' -- R̥gveda https://tinyurl.com/y96lkbmm
Yajurveda provides an extraordinary expression: 'yajñena kalpantām'. This can be translated as:
fashioned by yajña, providing a precis of the form and function of a yajña in Veda tradition

17
which continues during the Bronze Age in Sarasvati-Sindhu civilization and is documented in
Indus Script Corpora with over 8000 inscriptions. This demonstrates that the form and function
of yajña is a metallurgical process to fashion metalwork in fire using dhātu, mud, stone, pebbles,
woodwork and metals.
Gaṇeśa is 1. kavi; Brahmaṇaspati, Br̥haspati, 2. scribe of Mahābhārata, 3. त्रिधातु, 'aggregate of 3
minerals', 4. R̥bhu founder of yajña, artist, rayi, 'wealth' Gaṇeśa is a Marut, R̥bhukṣa, who wields
a thunderbolt. This is a metaphor for his tusk used as a writing instrument. That Gaṇeśa is a
member of Marut Gaṇa is signified on a sculptural frieze of Kanchipuram Kailāsanātha temple.

A parallel is with R̥kvat gaṇa 'prayer chant', Gaṇeśa iconography, Māheśvara Sūtrāṇi & Indus
Script hypertext See: https://tinyurl.com/y72cc79u Dance-step of Gaṇeśa, Emūṣa, Varāha, with
Marut-gaṇa. Kailasanath Temple, Kanchipuram. I have suggested that the dance-step of Gaṇeśa
is Indus Script hypertext: karabha 'elephant' rebus; karba 'iron' is ligatured to mē̃d, mēd 'body,
womb, back'rebus: meḍ 'iron';मृदु mṛdu, mẽṛhẽt, 'iron' (Samskrtam. Santali.Mu.Ho.) Dance-
step: meḍ 'dance-step' signifies meḍ 'iron'med, 'copper' (Slavic)
See: Bhāratīya ādhyātmikā itihāsa of tridhātu Gaṇeśa, śarva Śiva, Rāma, Kr̥ṣṇa
https://tinyurl.com/yc95usjo
Tridhātu as Gaṇeśa, Tridhātu on Indus Script metalwork for crucible steel, ādhyātmikā
metaphor pr̥thvyaptejorūpadhātu (R̥gveda)
http://tinyurl.com/kptlbz3
Gaṇeśa is Brāhmī scribe of Mahābhārata in the tradition of Indus Script cipher of Bronze Age
https://tinyurl.com/y79j8rxp

See: Gaṇeśa is scribe of Mahābhārata https://tinyurl.com/ycpoch5w

18
Gaṇeśa is 1. Marut, kharva, 'dwarf', dancer, kavi, Brahmaṇaspati, Br̥haspati, 2. त्रिधातु,
'aggregate of 3 minerals', 3.R̥bhu founder of yajña, artist, rayi, 'wealth'.
Gaṇeśa is a कत्रव kavi, m. a singer , bard , poet (but in this sense without any technical application
in the वेद) RV. VS. TS. AV. S3Br. i , 4 , 2 , 8Kat2hUp. iii , 14 MBh. Bhag. Bha1gP. Mn. vii ,
49 R. Ragh.

Gaṇeśa is a scribe, a R̥bhu, 'artist' In the tradition of Indus Script, a scribe is also an artist
because the writing system is composed with hypertextss incorporating hieroglyphs -- both
pictorial motifs and 'signs or symbols', say, syllabic representations in Brāhmī or 'signs' of the
Indus Script Corpora.

Since Mahābhārata is the fifth Veda itihāsa with ākhyāna-s and upākhyāna-s, the scribe of the
sacredkāvya, by the kavi, -- is Gaṇeśa who is kavīnām kavi, he is the suprme kavi among kavi-
s. The scribal narratiave is an affirmation of divine sanction for the documented narratives.

Hence, Gaṇeśa utters the praṇava, says 'om' accepting the terms stipulated by Vyāsa.
Two anient manuscripts of the Great Epic announce Gaṇeśa as scribe, lekhaka, of the epic:
Arrival of Heramba Gaṇeśa to write Mahābhārata announced in ādiparva:
सौत्रतरुवाच ।
एवमाभाष्य तं ब्रह्मा जगाम स्वं त्रनवेशनम् ।

भगवान्स जगत्स्रष्टा ऋत्रषदे वगणरैः सह ॥

ततैः सस्मार हेरम्बं व्यासैः सत्यवतीसुतैः ॥

स्मृतमािो गणेशानो भक्तत्रचन्तन्ततपूरकैः ।

तिाजगाम त्रवघ्नेशो वेदव्यासो यतैः न्तथथतैः ॥

पूत्रजतश्चोपत्रवष्टश्च व्यासेनोक्तस्तदानघ ।
लेखको भारतस्यास्य भव त्वं गणनायक ॥

मयरव प्ोच्यमानस्य मनसा कन्तितस्य च ॥

श्रुत्वरतत्प्राह त्रवघ्नेशो यत्रद मे लेखनी क्षणम् ।

त्रलखतो नावत्रतष्ठे त तदा स्यां लेखको ह्यहम् ॥

व्यासोऽप्युवाच तं दे वमबुद्वा मा त्रलख क्वत्रचत् ।

ओत्रमत्युक्त्वा गणेशोत्रप बभूव त्रकल लेखकैः ॥
ग्रन्थग्रन्तन्थं तदा चक्रे मुत्रनगूकढं कुतूहलात् ।

19
यन्तस्मन्प्रत्रतज्या प्ाह मुत्रनर्द्वैपायनन्तिदम् ॥

अष्टौ श्लोकसहरात्रण अष्टौ श्लोकशतात्रन च ।

अहं वेत्रि शुको वेत्रत्त संजयो वेत्रत्त वा न वा ॥

तच्छ्लोककूट्मद्यात्रप ग्रत्रथतं सुदृढं मुने ।

भेत्तुं न शक्यतेऽथकस्यं गूढत्वात्प्रत्रश्रतस्य च ॥

सवकज्ोत्रप गणेशो यत्क्षणमास्ते त्रवचारयन् ।

तावच्चकार व्यासोत्रप श्लोकानन्यान्ज़्बहूनत्रप ॥

तस्य वृक्षस्य वक्ष्यात्रम शाखापुष्पफलोदयम् ।

स्वादु मेध्यरसोपेतमच्छे द्यममरर रत्रप ॥
अनुक्रमत्रणकाध्यायं वृत्तान्तं सवकपवकणाम् ।

इदं र्द्वरपायनैः पूवं पुिमध्यापयच्छु कम् ॥

ततोऽन्येभ्योऽनुरूपेभ्यैः त्रशष्येभ्यैः प्ददौ प्भुषत्रष्टं शतसहरात्रण चकारान्यां स संत्रहताम् ।

त्रिंशच्छतसहरं च दे वलोके प्त्रतत्रष्ठतम् ॥

त्रपत्र्ये पञ्चदश प्ोक्तं रक्षोयक्षे चतुदकश ।

एकं शतसहरं तु मानुषेषु प्त्रतत्रष्ठतम् ॥
http://sarit.indology.info/exist/apps/sarit/works/%C4%81diparva.html
Elephant, trunk of elephant: kar-ibha, ib; rebus: karba 'iron'; ib 'iron'. rebus: ib 'needle' (stylus for
writing)

Dance step of Gaṇeśa shown on a sculptural friezed of Candi Sukuh:

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Forge scene stele. Forging of a keris or kris (the iconic Javanese dagger) and other weapons.
The blade of the keris represents the khaṇḍa. Fire is a purifier, so the blade being forged is also
symbolic of the purification process central theme of the consecration of gangga sudhi specified
in the inscription on the 1.82 m. tall, 5 ft. dia. lingga hieroglyph, the deity of Candi Sukuh.
http://bharatkalyan97.blogspot.in/2015/01/sekkizhar-periya-puranam-candi-sukuh.html
The scene in bas relief The scene depicted Bhima as the blacksmith in the left forging the
metal, Ganesa in the center, and Arjuna in the right operating the tube blower to pump air into
the furnace.
Candi Sukuh temple was consecrated by Bhre Daha in 1440 CE celebrating Bhima, an
embodiment of the philosophy of life alternating between death and rebirth in an eternal cycle, a
cosmic dance. King Kertanagara’s role in unifying Majapahit Empire, founded on Dharma-
Dhamma is recorded in history. Some refer to Candi Sukuh as a temple venerating Tantrik
Saivism as ‘Bhima cult’. Bhre Daha belonged to the tradition of royal purohita Bhagawan
Ganggasudhi, associated with the royal house of Girindrawardhana. Gangga sudhi is rebus for
kanga sudhi ‘purification by brazier, kanga’.
Inscriptions on Vināyaka pratimā, Cambodia
Among the old inscriptions of the vināyaka temples in the far-East are the following
1) The Angkor Borei inscription of 611 AD, which mentions the construction of a shrine to
mahāgaṇapati.
2) 660 AD the jayavarman II inscription describing a temple built to shrIgaṇapati.
3) 817 AD inscription at Po Nagar in Vietnam of harivarman, the Champa King mentioning the
temple built to shrI gaṇapati (vinā
yaka).
4) 890 AD inscription of yashovarman I mentioning the building of two tantric Ashramas for the
worship of vināyaka known as chandanādri gaṇeśa (sandal mountain gaṇeśa).
The most mysterious inscription is from Prasat Prei Kuk shrine in Cambodia to vinṇyaka built by
king iśānavarman I.
ya kaschid dānavendra paraviṣaya-haro nirjito nyena śaktyā
The chief of the dānavas capturing others territory was conquered by the might of another
baddho vai sr̥inkalābhis chiram iha patito yam stuva~ṇ caila-ruddhah
bound with chains after having fallen here for a long time shut up in the mountain praises him
tan dr̥ṣṭvā kinnarābhiśatagaṇasahitas svapnaśoṣe himādrer
Having seen that, with a 100 gaṇas and kinnaras, having woken up, from the Himalayan peak,
āyāto mokṣanārthā~ṇ jayati gaṇapatis tvad-dhitāyeva so yam
comes this gaṇapati who for your welfare conquers for the purpose of liberating.

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Source: https://manasataramgini.wordpress.com/2005/09/07/the-odd-cambodian-inscription-of-
vinayaka/

Source: agnyāyatanaṁ and agnihotrahomaḥ colophon: punarādheyam

http://muktalib5.org/VEDIC_ROOT/TEXTS/JOGLEKAR/JOGLEKAR-PDF/J0045.pdf
गणा f. N. of one of the mothers in स्कन्द's retinue MBh. ix , 2645 (cf. अहर् - , मर् /उद् - ,
व्/ऋष- , स्/अ- , सप्त्/अ- , स्/अवक- ; दे व-,महा- ,andत्रवद-गण्/अ.) गण [p=343,1] m. a flock , troop ,
multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or
attendants RV. AV.&c troops or classes of inferior deities (especially certain troops of demi-
gods considered as त्रशव's attendants and under the special superintendence of the
god गणे*श ; cf. -दे वता) Mn. Ya1jn5. Lalit. &c a single attendant of त्रशव VarBr2S. Katha1s.

Ra1jat. iii , 270N. of गणे*श W.a company , any assemblage or association of men formed for the
attainment of the same aims Mn. Ya1jn5. Hit.m. a particular group of सामन् s La1t2y. i , 6 ,
5 VarYogay. viii , 7

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23
Griffith translation
HYMN XXIII. Brahmanaspati. 23
1. WE call thee, Lord and Leader of the heavenly hosts, the wise among the wise, the famousest
of all, The King supreme of prayers, O Brahmanaspati: hear us with help; sit down in place of
sacrifice.
2 Brhaspati, God immortal! verily the Gods have gained from thee, the wise, a share in holy
rites. As with great light the Sun brings forth the rays of morn, so thou alone art Father of all
sacred prayer.
3 When thou hast chased away revilers and the gloom, thou mountest the refulgent car of
sacrifice; The awful car, Brhaspati, that quells the foe, slays demons, cleaves the stall of kine,
and finds the light.
4 Thou leadest with good guidance and preservest men; distress overtakes not him who offers
gifts to thee. Him who hates prayer thou punishest, Brhaspati, quelling his wrath: herein is thy
great mightiness.
5 No sorrow, no distress from any side, no foes, no creatures doubletongued- have overcome
the man, Thou drivest all seductive fiends away from him whom, careful guard, thou
keepest Brahmanaspati.
6 Thou art our keeper, wise, preparer of our paths: we, for thy service, sing to thee with hymns of
praise. Brhaspati, whoever lays a snare for us, him may his evil fate, precipitate, destroy.
7 Him, too, who threatens us without offence of ours, the evilminded, arrogant, rapacious
man, Him turn thou from our path away, Brhaspati: give us fair access to this banquet of the
Gods. 8 Thee as protector of our bodies we invoke, thee, saviour, as the comforter who loveth
us. Strike, O Brhaspati, the Gods revilers down, and let not the unrighteous come to highest bliss.
9 Through thee, kind prosperer, O Brahmanaspati, may we obtain the wealth of Men which all
desire: And all our enemies, who near or far away prevail against us, crush, and leave them
destitute.
10 With thee as our own rich and liberal ally may we, Brhaspati, gain highest power of life. Let
not the guileful wicked man be lord of us: still may we prosper, singing goodly hymns of praise.
11 Strong, never yielding, hastening to the battlecry-, consumer of the foe, victorious in
the strife, Thou art sins' true avenger, Brahmanaspati, who tamest even the fierce, the wildly
passionate.
12 Whoso with mind ungodly seeks to do us harm, who, deeming him a man of might mid lords,
would slay, Let not his deadly blow reach us, Brhaspati; may we humiliate the strong illdoers-'
wrath.
13 The mover mid the spoil, the winner of all wealth, to be invoked in fight and reverently
adored, Brhaspati hath overthrown like cars of war all wicked enemies who fain would injure us.
14 Burn up the demons with thy fiercest flaming brand, those who have scorned thee in
thy manifested might. Show forth that power that shall deserve the hymn of praise: destroy the

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evil speakers, O Brhaspati.
15 Brhaspati, that which the foe deserves not which shines among the folk effectual,
splendid, That, Son of Law I which is with might refulgentthat- treasure wonderful bestow thou
on us. 16 Give us not up to those who, foes in ambuscade, are greedy for the wealth of him who
sits at ease, Who cherish in their heart abandonment of Gods. Brhaspati, no further rest shall they
obtain.
17 For Tvastar, he who knows each sacred song, brought thee to life, preeminent over all
the things that be. Guiltscourger-, guiltavenger- is Brhaspati, who slays the spoiler and upholds
the mighty Law.
18 The mountain, for thy glory, cleft itself apart when, Angiras! thou openedst the stall of
kine. Thou, O Brhaspati, with Indra for ally didst hurl down waterfloods- which gloom had
compassed round.
19 O Brahmanaspati, be thou controller of this our hymn and prosper thou our children. All that
the Gods regard with love is blessed. Loud may we speak, with heroes, in assembly.
Source: http://muktalib5.org/VEDIC_ROOT/vedic_library.htm
ॐ गणानां त्वा गणपत्रतं हवामहे
कत्रवं कवीनामुपमश्रवस्तमम् ।
ज्येष्ठराजं ब्रह्मणाम् ब्रह्मणस्पत
आ नैः शृण्वन्नूत्रतत्रभैःसीदसादनम् ॥
ॐ महागणात्रधपतये नमैः ॥
When he is referred to as त्रवष्णु[p= 999,2], the
meaning is: m. (prob. fr. √ त्रवष् , " All-pervader " or
"Worker". As 'worker' Gaṇapati is the divinity of
artisans.

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