Hieroglyphs are sacred carvings incised, to convey rebus
substantive messages in Meluhha. Symbols associated with divinities
and tree of life are Meluhha sacred carvings. Many carvings relate
to specific varieties of plants, buds, flowers which are associated
with sacredness because they connote -- rebus -- metal artifacts of
a kole.l 'smithy/forge' which is, kole.l 'temple'. Archaeological
evidences from Ancient Near East point to the practice of worship
in temples of divinities associated with these hieroglyphs.
Kabbalah of the Ancient Near East is a synonym of agama of Indian
tradition with the roots found in Meluhha as a visible language.
Both traditions venerate altars as models of temples. What lessons
can be learnt from the evidences to delineate the roots of
religious experiences of our ancestors? This inquiry primarily
based on archaeologically attested artifacts is an incomplete
religious inquiry. Kabbalah is a school of thought, a magnificent
statement resulting from an intense inquiry into the nature of
phenomena including living and non-living forms and cosmic order.
One thought is apparent and central. There is some energy which
permeates the universe and a name ws given to this energy, calling
it by various appellations includes divine creation which can only
be modeled on hieroglyphs. The hieroglyphs then become attributes
of that divinity manifested in the cultural world order. When the
king kneels in adoration in front of an altar which has as the
center-piece a mere staff or pole, how did he vocalise the
phenomenon which the sculpture has created? Is the sculpture an
attempt at representing thought resulting from the inquiry? Or is
it just a limited manifestation of the sculptor's life-experience?
Or, is it a model of the ziggurat, the temple itself? Ziggurat as a
temple is a leap in inquiry. It is a mere accumulation, a piling up
of dhatu, earth forms containing minerals and what is left of
minerals, may be ashes, after the processes in the crucible, smithy
and forge. Or, is it a memory of accumulated memories bequeathed by
ancestors in a life-continuum? The agama tradition in ancient India
also has its roots in inquiry resulting in representation of
attributes in human and non-human forms in an architectural model
of a temple. The story of the agama and the kabbalah has to be
fully told to understand the boundaries of the sacred observed and
practised as religious experience. What is the difference between
hakira (philosophy) and darash (inquire, seek ) Is the darash
traceable to the Indian traditions of dars'ana? How do Rabbinic
meanings ( midrashic) explain the traditions evolved over time,
narrated in Tanakh? Is there a cosmic law? The sememe dars'an has
its root dRs', 'to see'. Is the seeing mere visual experience or an
experience of the conscious mind? The beholding could be a series
of flashes or glimpses seen by the inquirer. The cognate wor darash
thus becomes a series of events, related or unrelated. events of
conscious thought of the devotee. A fantastic metaphor emerges in
the Vis'warupa, divine, wondrous manifestation holding many
weapons, ornamented with celestial flowers and perfumes. Before
such a form, the devotee kneels down in adoration, like
Tukulti-Ninurta I (1243-1207 BCE), King of Assyria or like Arjuna
in front of Sri Krishna as narrated in the Mahabharata and the
Gita. Is there any significance or meaning assignable, from a
narrative, which refers to artifacts of gypsum, strong copper and
the Magilum boat of Meluhha fame, apart from Anzu who had stolen
the tablet of destiny? It appears that Meluhhan artificer who
created a writing system referred to strong copper by using the
rebus metaphor of the sunflower, karaDa which also connoted 'strong
copper' or hard alloy. When copper was hardened by alloying, it
became 'useful' or 'meaningful' as a resource for making weapons
and tools or as a resource for engaging in trade transactions using
the Magilum boat.
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