The Gods of the Celts and the Indo-Europeans, 1994
Garrett Olmsted
Luwian Kuruntas and Celtic Cernunnos: Two Closely Related Manifestations of the Same Indo-European God
https://www.academia.edu/34555543/Luwian_Kuruntas_and_Celtic_Cernunnos_Two_Closely_Related_Manifestations_of_the_Same_Indo-European_God
A Solution To The Mystery Of The Gundestrup Cauldron
https://www.academia.edu/28058446/A_Solution_To_The_Mystery_Of_The_Gundestrup_Cauldron
Vijaya Bhaarati
The Harappan seals contain several linguistic symbols which have not been properly understood so far.Through my works especially- Indus script decipherment breakthrough, PaNameTa-the troy tower weight and measure system of Harappa, The Harappan Symbol Of
Man+ Trident And Its Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower Weights), The Harappan Unicorn And The Kalinga Malla MeTas(Tower Weights) , The Harappan Symbol Of Intersecting Circles And Its Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower weights), The Harappan Contest Motif Of Nude Man With Six Locks Of Hair Fighting Two Tigers And Its Relation To The Kalinga Malla MeTas( Tower Weights), The Harappan symbols of Roots, Nuts And Cocks And Their Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower weights), Identification Of KaNva In The Indus Script, Identification Of Troy In The Indus script,Identification Of Barley And Mustard In The Indus Script, Krishna’s Mathura And Dvaraka In The Indus Script, The Pinna In The Indus Script, The Identity Of Vedic Sarasvati And The Location Of Krishna’s Dvaraka, Identification Of Vedic Bharadvaja In The Indus Script, Krishna’s Dvaraka In The Indus Script, One Symbol Of Indus Script Can Tell A Lot About The Indus Valley Civilisation, The Identity Of Kasyapa In The Indus Valley And Sumeria, Kusa -The Son Of Rama-In Mesopotamia(Sumer),Indus -Sumer Trade, A Few “Copper” Names In The Indus Script, Janaka-King Of Mithila-In The Indus Script,The Vedic Asvins, Yama And Kartikeya In The Indus Script, The Goddess Sarasvati And The Origin Of Brahmi And Kharoshthi, The Origin Of The Roman Aes Grave From The Indus Valley Money -
I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people and places etc.In this work I am carrying forward the study of vedic metrology in the Indus seals with further illustrative examples.My perception is that only a comprehensive study of ancient vedic metrology can decipher the script symbols satisfactorily. A significant find herein is the existence of the Kalinga malla mana system during Harappan times challenging the common perception of its origin from the later Kalinga kingdom(Orissa).The unicorn is identified as the pala/nishka.Intersecting circles, fish , crab,bud,tower signs also have the same indications.The six locks of hair indicate the paNameTa weight of six barley grains.Roots and nuts indicate viira bhadra/ Drupada/ pala.We have located Lord Krishna’s Mathura and Dvaraka in the Indus valley scripts.
We have confirmed Mohenjodaro as the first Dvaraka
on the basis of the inscription on the copperplate B7C2 from there and textual evidences from the Rgveda, Mahabharata etc.We have located PadmakuuTa,one of the
palaces of Krishna there.Also we have identified the Sindhu(Indus) as the Vedic Sarasvati river.We have gone through the symbols identifying the Bharadvajas,the clan of composers of the earliest vedic texts.In Krishna’s Dvaraka we gathered more details from the script on Lord Krishna’s Dvaraka and Sindhu/Sarasvati. We have looked into the
indications of the Harappan jar symbol with three forks on each edge.We have located the Kasyapas in Hastinapura
trading with Sumeria.We have decoded the Mari Standard,went deeper into the meanings of several Sumerian images and confirmed Meluhha as Vedic Harappa/Indus valley. We have located Janaka,the king of Mithila,father-in-law of Rama, in the Indus script.We have identified the names of copper in the Indus script and located the Asvins,Yama and Skanda in the Indus script.In A Model For Indus Script Decipherment
we have identified the deity in the seal M-1181 and built a model for complete decipherment of the Indus script.
We have seen how Brahmi and Kharoshthi evolved from the Indus Script and how the Indus script was in use along with Brahmi/Kharoshthi even into the first centuries CE.We have seen how the coins of the ancient world,including the Roman coins evolved from the Indus valley money.
We have looked for and located a Rosetta Stone for the Indus script, in the varaha/gadyanaka coin form.
In this article we are looking into the relation of the Druids to the Indus valley civilisation and the role of the Gundestrup cauldron
in the evolution of Christianity.
Indus Script hieroglyphs on artifacts which signify Karnonov (Cernunnos), Gundestrup cauldron, Celtic tomb of Lavau (500 BCE)
Srini Kalyanaraman
This monograph posits that Indus Script hieroglyphs are identifiable on the following artifacts made by silversmiths/boatmen in the Ancient Near East from ca. 500 BCE:
1. artifacts which signify Karnanov (Cernunnos)
2. Gundestrup Cauldron,
3. artifacts of Celtic tomb of Lavau (500 BCE).
Such hieroglyhs as hypertexts, are decipered in Indus Script Cipher tradition of Sarasvati-Sindhu civilization. cf. Karnanov as कारणी 'supercargo' kāraṇīka
'helmsman'on Pilier des nautes (Pillar of Boatmen).
http://bharatkalyan97.blogspot.in/2016/08/greek-karnonov-to-carnonos-cognate.html ΚΑΡΝΟΝΟΥ (Greek) karnonov to CARNONOS cognate कारणी 'supercargo' kāraṇīka 'helmsman'Indus Script
1.An artifact which signifies karnanov
I suggest that the expression karnanov (mentioned with variant spelling on the Pillar of Boatmen, as cernunnos) is cognate with कारणी 'supercargo' kāraṇīka
'helmsman'. identified on Indus Script Corpora.
Model reconstructing the Pillar of the Boatmen in the Musée de Cluny
Relief of Cernunnos (the only one that uses this name) on the column dedicated by the boatmen of Paris to Emperor Tiberius andJupiter. Two torcs hang from his antlers. (Musée du Moyen-Âge at Cluny, Paris)
karnanov signified on the Pillar of Boatmen. Indus Script hieroglyphs (hypertext): kāṇḍa 'stalk' (as horns) rebus: kāṇḍa 'implement'.
The rings hung on the horns of the seated person: karã̄ n. pl. 'wristlets, bangles' rebus: khār 'blacksmith'
The person is seated in penance (tApasa vis'esha): kamaDha 'penance' rebus: kammaTa 'mint, coiner, coinage'.
Since the seated person is recognized in Celtic/Gaul traditions and is recognized on the Pillar of Boatmen, the the expression karnanov used in an inscription in Greek letters is cognate with कारणी kāraṇī 'supercargo', kāraṇīka 'helmsman'.
In the context of glyptics on Gundestrup Cauldron, Art historian Timothy Taylor noted a shared pictorial and technical tradition that stretched from India to Thrace where the cauldron was made and thence to Denmark. He also conjectured that members of an Indian itinerant artisan class, not unlike the later Gypsies in Europe who also originate in India, must have been the creators of the Gundestrup Cauldron. (Taylor, T. 1992. "The Gundestrup cauldron.” Scientific American 266(March): 84-89.) See: Dr. Tim Taylor (University of Bradford). Univ. of Birmingham, Archaeology and World Religions, Session held on 19 December 1998]. http://www.bham.ac.uk/TAG98/pages/abs
Timothy Taylor and AK Bergquist had noted "that the Celtic tribe known as the Scordisci commissioned the cauldron from native Thracian silversmiths. According to classical historians, the Cimbri, a Teutonic tribe, went south from the lower Elbe region and attacked the Scordisci in 118 BC. After withstanding several defeats at the hands of the Romans, the Cimbri retreated north with the cauldron to settle in Himmerland, where the vessel was found." (Bergquist, A K & Taylor, T F (1987), “The origin of the Gundestrup cauldron”, Antiquity 61: 10-24.)
If the silversmiths of Thrace who used Indus Script hieroglyphs on the Gundestrup Cauldron had been an itinerant class of metalworkers, it is reasonable to hypothesise that the ancestors of these silversmiths were originally from Sarasvati-Sindhu civilization, and continued the tradition of Indus Script cipher in documenting in hypertext, the Gundestrup cauldron as a metalwork catalogue. This hypothesis is consistent with the decipherment of the entire Indus Script Corpora as a data archive of metalwork catalogues.
I suggest that the 'horns' on Karnonov (Cernunnos) signified on the Pillar of Boatmen are NOT antler's horns but stalks or trunks of a plant.
The word काण्ड is an Indus Script hieroglyph, a stalk. The word काण्ड in metalwork is a metal implement; The word कण्ड is a sword. कांडें (p. 151) [ kāṇḍēṃ ] n (कांड S) A joint or knot, an articulation. 2 The portion included between two knots, an internodation. 3 A piece (as of sugarcane or bamboo) comprising three or four knots. 4 The whole stem or trunk of a plant, or esp. up to the shooting of the branches. 5 fig. A measure of length,--a pole, stick, straw, thread, any thing (of definite or indefinite length) taken to measure with: also the measure so taken. v घे. Hence A section or defined portion (of a long wall, of an elevated platform sometimes appended to a draw-well, of a raised पाट or plantation-watercourse, of any long line of masonry). 6 A creeping plant old, dry, and stiff. 7 Stalks and heads of corn once trodden or thrashed (as thrown or reserved for a second treading or thrashing). 8 A young plant (of नाचणी, वरी &c.) fit to be transplanted. 2 A disease attacking the finger-joints. अडचा कांड्यावर येणें (Because two large and one small कांडीं or joints are the amount of a stalk of wheat.) To be ready to throw out the ear (to shoot the hose)--wheat.
Identified hieroglyphs on Gundestrup Cauldron
In 2002 previously unknown images were revealed on the Gundestrup Cauldron. These images are "very faintly scratched on the back of the plates. The images discovered include a horn blower and a cat-like animal, perhaps a lion..."http://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-early-iron-age/the-gundestrup-cauldron/hidden-images/
One image is that of a tiger, an Indus Script hieroglyph which is shown below. Hieroglyph: kola 'tiger' rebus: kol 'working in iron'.kolhe 'smelter' kolle 'blacksmith'.
"A closer examination of the Gundestrup Cauldron in 2002 revealed previously unknown images, very faintly scratched on the back of the plates. The images discovered include a horn blower and a cat-like animal, perhaps a lioness. The figures are a few centimetres tall. They were not meant to be seen. The pictures, which were not known about until recently, may be various suggestions of how the cauldron’s makers thought the cauldron should be decorated." http://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-early-iron-age/the-gundestrup-cauldron/hidden-images/
Other Indus Script hieroglyphs on the Gundestrup Cauldron
kamaDha 'penance' (seated person) rebus: kammaTa 'mint, coiner, coinage'.
karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'
khaNDa 'rhinoceros' rebus: kaNDa 'implement'
ranku 'antelope' rebus: ranku 'tin'
karã̄ n. pl. 'wristlets, bangles' rebus: khār 'blacksmith'
kulyA 'hood of serpent' rebus: kol 'working in iron'
miṇḍāl 'markhor' (Tōrwālī) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic languages)
eraka 'upraised hand' rebus: eraka 'moltencast, copper'
eruvai 'eagle, kite' rebus: eruvai 'copper'
arka 'sun' rebus: eraka, arka 'copper, gold'
kolmo 'three' rebus: kolimi 'smithy, forge'
arA 'spokes' rebus: Ara 'brass' eraka 'nave of wheel' rebus: eraka 'moltencast, copper'
ayo, aya 'fish' rebus: aya 'iron' ayas 'metal'
kambha 'wing' rebus: kammaTa 'mint, coiner, coinage'
dolutsu 'tumble' Rebus: dul 'cast metal'
tutārī a wind instrument, a sort of horn (Marathi) (DEDR 3316)Rebus: తుత్తము [ tuttamu ] or తుత్తరము tuttamu. [Tel.] n. sulphate of zinc.
Hieroglyph: d.han:ga = tall, long shanked; maran: d.han:gi aimai kanae = she is a big tall woman (Santali) Rebus: d.han:gar ‘blacksmith’ (WPah.): d.a_n:ro = a term of contempt for a blacksmith (N.)(CDIAL 5524) t.ha_kur = blacksmith (Mth.); t.ha_kar = landholder (P.); t.hakkura – Rajput, chief man of a village (Pkt.); t.hakuri = a clan of Chetris (N.); t.ha_kura – term of address to a Brahman, god, idol (Or.)(CDIAL 5488). dha~_gar., dha_~gar = a non-Aryan tribe in the Vindhyas, digger of wells and tanks (H.); dha_n:gar = young servant, herdsman, name of a Santal tribe (Or.); dhan:gar = herdsman (H.)(CDIAL 5524).
karA 'crocodile' rebus: khAr 'blacksmith'
kODe, kOdiya 'young bull' rebus: koTiya 'dhow, seafaring vessel'
kola 'tiger, jackal' rebus: kol 'working in iron'
Hieroglyph: धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; 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) tántu m. ʻ thread, warp ʼ RV. [√tan] Pa. tantu -- m. ʻ thread, cord ʼ, Pk. taṁtu -- m.; Kho. (Lor.) ton ʻ warp ʼ < *tand (whence tandeni ʻ thread between wings of spinning wheel ʼ); S. tandu f. ʻ gold or silver thread ʼ; L. tand (pl. °dũ) f. ʻ yarn, thread being spun, string of the tongue ʼ; P. tand m. ʻ thread ʼ, tanduā, °dūā m. ʻ string of the tongue, frenum of glans penis ʼ; A. tã̄t ʻ warp in the loom, cloth being woven ʼ; B. tã̄t ʻ cord ʼ; M. tã̄tū m. ʻ thread ʼ; Si. tatu, °ta ʻ string of a lute ʼ; -- with -- o, -- ā to retain orig. gender: S. tando m. ʻ cord, twine, strand of rope ʼ; N. tã̄do ʻ bowstring ʼ; H. tã̄tā m. ʻ series, line ʼ; G. tã̄tɔ m. ʻ thread ʼ; -- OG. tāṁtaṇaü m. ʻ thread ʼ < *tāṁtaḍaü, G.tã̄tṇɔ m.(CDIAL 5661)
Indus Script hieroglyphs on artifacts which signify Karnonov (Cernunnos), Gundestrup cauldron, Celtic tombof Lavau (500 BCE)
This monograph posits that Indus Script hieroglyphs are identifiable on the following artifacts made by silversmiths/boatmen in the Ancient Near East from ca. 500 BCE:1. artifacts which signify Karnanov (Cernunnos)2. Gundestrup Cauldron,3. artifacts of Celtic tomb of Lavau (500 BCE
Such hieroglyhs as hypertexts, are decipered in Indus Script Cipher tradition of Sarasvati-Sindhu civilization. cf. Karnanov asकाणी 'supercargo' kāraṇī k a'helmsman'on Pilier des nautes (Pillar of Boatmen).http://bharatkalyan97.blogspot.in/2016/08/greek-karnonov-to-carnonos- cognate.html
Garrett Olmsted
Luwian Kuruntas and Celtic Cernunnos: Two Closely Related Manifestations of the Same Indo-European God
https://www.academia.edu/34555543/Luwian_Kuruntas_and_Celtic_Cernunnos_Two_Closely_Related_Manifestations_of_the_Same_Indo-European_God
A Solution To The Mystery Of The Gundestrup Cauldron
https://www.academia.edu/28058446/A_Solution_To_The_Mystery_Of_The_Gundestrup_Cauldron
Vijaya Bhaarati
The Harappan seals contain several linguistic symbols which have not been properly understood so far.Through my works especially- Indus script decipherment breakthrough, PaNameTa-the troy tower weight and measure system of Harappa, The Harappan Symbol Of
Man+ Trident And Its Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower Weights), The Harappan Unicorn And The Kalinga Malla MeTas(Tower Weights) , The Harappan Symbol Of Intersecting Circles And Its Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower weights), The Harappan Contest Motif Of Nude Man With Six Locks Of Hair Fighting Two Tigers And Its Relation To The Kalinga Malla MeTas( Tower Weights), The Harappan symbols of Roots, Nuts And Cocks And Their Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower weights), Identification Of KaNva In The Indus Script, Identification Of Troy In The Indus script,Identification Of Barley And Mustard In The Indus Script, Krishna’s Mathura And Dvaraka In The Indus Script, The Pinna In The Indus Script, The Identity Of Vedic Sarasvati And The Location Of Krishna’s Dvaraka, Identification Of Vedic Bharadvaja In The Indus Script, Krishna’s Dvaraka In The Indus Script, One Symbol Of Indus Script Can Tell A Lot About The Indus Valley Civilisation, The Identity Of Kasyapa In The Indus Valley And Sumeria, Kusa -The Son Of Rama-In Mesopotamia(Sumer),Indus -Sumer Trade, A Few “Copper” Names In The Indus Script, Janaka-King Of Mithila-In The Indus Script,The Vedic Asvins, Yama And Kartikeya In The Indus Script, The Goddess Sarasvati And The Origin Of Brahmi And Kharoshthi, The Origin Of The Roman Aes Grave From The Indus Valley Money -
I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people and places etc.In this work I am carrying forward the study of vedic metrology in the Indus seals with further illustrative examples.My perception is that only a comprehensive study of ancient vedic metrology can decipher the script symbols satisfactorily. A significant find herein is the existence of the Kalinga malla mana system during Harappan times challenging the common perception of its origin from the later Kalinga kingdom(Orissa).The unicorn is identified as the pala/nishka.Intersecting circles, fish , crab,bud,tower signs also have the same indications.The six locks of hair indicate the paNameTa weight of six barley grains.Roots and nuts indicate viira bhadra/ Drupada/ pala.We have located Lord Krishna’s Mathura and Dvaraka in the Indus valley scripts.
We have confirmed Mohenjodaro as the first Dvaraka
on the basis of the inscription on the copperplate B7C2 from there and textual evidences from the Rgveda, Mahabharata etc.We have located PadmakuuTa,one of the
palaces of Krishna there.Also we have identified the Sindhu(Indus) as the Vedic Sarasvati river.We have gone through the symbols identifying the Bharadvajas,the clan of composers of the earliest vedic texts.In Krishna’s Dvaraka we gathered more details from the script on Lord Krishna’s Dvaraka and Sindhu/Sarasvati. We have looked into the
indications of the Harappan jar symbol with three forks on each edge.We have located the Kasyapas in Hastinapura
trading with Sumeria.We have decoded the Mari Standard,went deeper into the meanings of several Sumerian images and confirmed Meluhha as Vedic Harappa/Indus valley. We have located Janaka,the king of Mithila,father-in-law of Rama, in the Indus script.We have identified the names of copper in the Indus script and located the Asvins,Yama and Skanda in the Indus script.In A Model For Indus Script Decipherment
we have identified the deity in the seal M-1181 and built a model for complete decipherment of the Indus script.
We have seen how Brahmi and Kharoshthi evolved from the Indus Script and how the Indus script was in use along with Brahmi/Kharoshthi even into the first centuries CE.We have seen how the coins of the ancient world,including the Roman coins evolved from the Indus valley money.
We have looked for and located a Rosetta Stone for the Indus script, in the varaha/gadyanaka coin form.
In this article we are looking into the relation of the Druids to the Indus valley civilisation and the role of the Gundestrup cauldron
in the evolution of Christianity.
Indus Script hieroglyphs on artifacts which signify Karnonov (Cernunnos), Gundestrup cauldron, Celtic tomb of Lavau (500 BCE)
Srini Kalyanaraman
This monograph posits that Indus Script hieroglyphs are identifiable on the following artifacts made by silversmiths/boatmen in the Ancient Near East from ca. 500 BCE:
1. artifacts which signify Karnanov (Cernunnos)
2. Gundestrup Cauldron,
3. artifacts of Celtic tomb of Lavau (500 BCE).
Such hieroglyhs as hypertexts, are decipered in Indus Script Cipher tradition of Sarasvati-Sindhu civilization. cf. Karnanov as कारणी 'supercargo' kāraṇīka
'helmsman'on Pilier des nautes (Pillar of Boatmen).
http://bharatkalyan97.blogspot.in/2016/08/greek-karnonov-to-carnonos-cognate.html ΚΑΡΝΟΝΟΥ (Greek) karnonov to CARNONOS cognate कारणी 'supercargo' kāraṇīka 'helmsman'Indus Script
1.An artifact which signifies karnanov
I suggest that the expression karnanov (mentioned with variant spelling on the Pillar of Boatmen, as cernunnos) is cognate with कारणी 'supercargo' kāraṇīka
'helmsman'. identified on Indus Script Corpora.
Model reconstructing the Pillar of the Boatmen in the Musée de Cluny
Relief of Cernunnos (the only one that uses this name) on the column dedicated by the boatmen of Paris to Emperor Tiberius andJupiter. Two torcs hang from his antlers. (Musée du Moyen-Âge at Cluny, Paris)
karnanov signified on the Pillar of Boatmen. Indus Script hieroglyphs (hypertext): kāṇḍa 'stalk' (as horns) rebus: kāṇḍa 'implement'.
The rings hung on the horns of the seated person: karã̄ n. pl. 'wristlets, bangles' rebus: khār 'blacksmith'
The person is seated in penance (tApasa vis'esha): kamaDha 'penance' rebus: kammaTa 'mint, coiner, coinage'.
Since the seated person is recognized in Celtic/Gaul traditions and is recognized on the Pillar of Boatmen, the the expression karnanov used in an inscription in Greek letters is cognate with कारणी kāraṇī 'supercargo', kāraṇīka 'helmsman'.
In the context of glyptics on Gundestrup Cauldron, Art historian Timothy Taylor noted a shared pictorial and technical tradition that stretched from India to Thrace where the cauldron was made and thence to Denmark. He also conjectured that members of an Indian itinerant artisan class, not unlike the later Gypsies in Europe who also originate in India, must have been the creators of the Gundestrup Cauldron. (Taylor, T. 1992. "The Gundestrup cauldron.” Scientific American 266(March): 84-89.) See: Dr. Tim Taylor (University of Bradford). Univ. of Birmingham, Archaeology and World Religions, Session held on 19 December 1998]. http://www.bham.ac.uk/TAG98/pages/abs
Timothy Taylor and AK Bergquist had noted "that the Celtic tribe known as the Scordisci commissioned the cauldron from native Thracian silversmiths. According to classical historians, the Cimbri, a Teutonic tribe, went south from the lower Elbe region and attacked the Scordisci in 118 BC. After withstanding several defeats at the hands of the Romans, the Cimbri retreated north with the cauldron to settle in Himmerland, where the vessel was found." (Bergquist, A K & Taylor, T F (1987), “The origin of the Gundestrup cauldron”, Antiquity 61: 10-24.)
If the silversmiths of Thrace who used Indus Script hieroglyphs on the Gundestrup Cauldron had been an itinerant class of metalworkers, it is reasonable to hypothesise that the ancestors of these silversmiths were originally from Sarasvati-Sindhu civilization, and continued the tradition of Indus Script cipher in documenting in hypertext, the Gundestrup cauldron as a metalwork catalogue. This hypothesis is consistent with the decipherment of the entire Indus Script Corpora as a data archive of metalwork catalogues.
I suggest that the 'horns' on Karnonov (Cernunnos) signified on the Pillar of Boatmen are NOT antler's horns but stalks or trunks of a plant.
The word काण्ड is an Indus Script hieroglyph, a stalk. The word काण्ड in metalwork is a metal implement; The word कण्ड is a sword. कांडें (p. 151) [ kāṇḍēṃ ] n (कांड S) A joint or knot, an articulation. 2 The portion included between two knots, an internodation. 3 A piece (as of sugarcane or bamboo) comprising three or four knots. 4 The whole stem or trunk of a plant, or esp. up to the shooting of the branches. 5 fig. A measure of length,--a pole, stick, straw, thread, any thing (of definite or indefinite length) taken to measure with: also the measure so taken. v घे. Hence A section or defined portion (of a long wall, of an elevated platform sometimes appended to a draw-well, of a raised पाट or plantation-watercourse, of any long line of masonry). 6 A creeping plant old, dry, and stiff. 7 Stalks and heads of corn once trodden or thrashed (as thrown or reserved for a second treading or thrashing). 8 A young plant (of नाचणी, वरी &c.) fit to be transplanted. 2 A disease attacking the finger-joints. अडचा कांड्यावर येणें (Because two large and one small कांडीं or joints are the amount of a stalk of wheat.) To be ready to throw out the ear (to shoot the hose)--wheat.
Identified hieroglyphs on Gundestrup Cauldron
In 2002 previously unknown images were revealed on the Gundestrup Cauldron. These images are "very faintly scratched on the back of the plates. The images discovered include a horn blower and a cat-like animal, perhaps a lion..."http://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-early-iron-age/the-gundestrup-cauldron/hidden-images/
One image is that of a tiger, an Indus Script hieroglyph which is shown below. Hieroglyph: kola 'tiger' rebus: kol 'working in iron'.kolhe 'smelter' kolle 'blacksmith'.
"A closer examination of the Gundestrup Cauldron in 2002 revealed previously unknown images, very faintly scratched on the back of the plates. The images discovered include a horn blower and a cat-like animal, perhaps a lioness. The figures are a few centimetres tall. They were not meant to be seen. The pictures, which were not known about until recently, may be various suggestions of how the cauldron’s makers thought the cauldron should be decorated." http://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-early-iron-age/the-gundestrup-cauldron/hidden-images/
Other Indus Script hieroglyphs on the Gundestrup Cauldron
kamaDha 'penance' (seated person) rebus: kammaTa 'mint, coiner, coinage'.
karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'
khaNDa 'rhinoceros' rebus: kaNDa 'implement'
ranku 'antelope' rebus: ranku 'tin'
karã̄ n. pl. 'wristlets, bangles' rebus: khār 'blacksmith'
kulyA 'hood of serpent' rebus: kol 'working in iron'
miṇḍāl 'markhor' (Tōrwālī) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic languages)
eraka 'upraised hand' rebus: eraka 'moltencast, copper'
eruvai 'eagle, kite' rebus: eruvai 'copper'
arka 'sun' rebus: eraka, arka 'copper, gold'
kolmo 'three' rebus: kolimi 'smithy, forge'
arA 'spokes' rebus: Ara 'brass' eraka 'nave of wheel' rebus: eraka 'moltencast, copper'
ayo, aya 'fish' rebus: aya 'iron' ayas 'metal'
kambha 'wing' rebus: kammaTa 'mint, coiner, coinage'
dolutsu 'tumble' Rebus: dul 'cast metal'
tutārī a wind instrument, a sort of horn (Marathi) (DEDR 3316)Rebus: తుత్తము [ tuttamu ] or తుత్తరము tuttamu. [Tel.] n. sulphate of zinc.
Hieroglyph: d.han:ga = tall, long shanked; maran: d.han:gi aimai kanae = she is a big tall woman (Santali) Rebus: d.han:gar ‘blacksmith’ (WPah.): d.a_n:ro = a term of contempt for a blacksmith (N.)(CDIAL 5524) t.ha_kur = blacksmith (Mth.); t.ha_kar = landholder (P.); t.hakkura – Rajput, chief man of a village (Pkt.); t.hakuri = a clan of Chetris (N.); t.ha_kura – term of address to a Brahman, god, idol (Or.)(CDIAL 5488). dha~_gar., dha_~gar = a non-Aryan tribe in the Vindhyas, digger of wells and tanks (H.); dha_n:gar = young servant, herdsman, name of a Santal tribe (Or.); dhan:gar = herdsman (H.)(CDIAL 5524).
karA 'crocodile' rebus: khAr 'blacksmith'
kODe, kOdiya 'young bull' rebus: koTiya 'dhow, seafaring vessel'
kola 'tiger, jackal' rebus: kol 'working in iron'
Hieroglyph: धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; 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) tántu m. ʻ thread, warp ʼ RV. [√tan] Pa. tantu -- m. ʻ thread, cord ʼ, Pk. taṁtu -- m.; Kho. (Lor.) ton ʻ warp ʼ < *tand (whence tandeni ʻ thread between wings of spinning wheel ʼ); S. tandu f. ʻ gold or silver thread ʼ; L. tand (pl. °dũ) f. ʻ yarn, thread being spun, string of the tongue ʼ; P. tand m. ʻ thread ʼ, tanduā, °dūā m. ʻ string of the tongue, frenum of glans penis ʼ; A. tã̄t ʻ warp in the loom, cloth being woven ʼ; B. tã̄t ʻ cord ʼ; M. tã̄tū m. ʻ thread ʼ; Si. tatu, °ta ʻ string of a lute ʼ; -- with -- o, -- ā to retain orig. gender: S. tando m. ʻ cord, twine, strand of rope ʼ; N. tã̄do ʻ bowstring ʼ; H. tã̄tā m. ʻ series, line ʼ; G. tã̄tɔ m. ʻ thread ʼ; -- OG. tāṁtaṇaü m. ʻ thread ʼ < *tāṁtaḍaü, G.tã̄tṇɔ m.(CDIAL 5661)
Indus Script hieroglyphs on artifacts which signify Karnonov (Cernunnos), Gundestrup cauldron, Celtic tombof Lavau (500 BCE)
This monograph posits that Indus Script hieroglyphs are identifiable on the following artifacts made by silversmiths/boatmen in the Ancient Near East from ca. 500 BCE:1. artifacts which signify Karnanov (Cernunnos)2. Gundestrup Cauldron,3. artifacts of Celtic tomb of Lavau (500 BCE
Such hieroglyhs as hypertexts, are decipered in Indus Script Cipher tradition of Sarasvati-Sindhu civilization. cf. Karnanov asकाणी 'supercargo' kāraṇī k a'helmsman'on Pilier des nautes (Pillar of Boatmen).http://bharatkalyan97.blogspot.in/2016/08/greek-karnonov-to-carnonos- cognate.html
No comments:
Post a Comment