The thesis reports re-discovery of lexical repertoire of Meluhha
language. Meluhha language was in vogue during the Bronze Age from
ca. 5th millennium BCE. Meluhha hieroglyphs of symbolic forms
relate to Meluhha life-experiences as sphota 'burst forth'
expressions in Meluhha language. The function of Meluhha writing
system deploying Meluhha cipher as mudra is to catalog
wheelwright-lapidary artifacts of stone, shell, metal traded by
maritime seafaring merchants and artisan-merchant caravans along
the famed, extensively documented Tin Road. The cipher key here is
artha translated as composite of entities and also 'meaning'. In
the Indian tradition, the word artha is a gloss which signifies
both 'meaning' and also 'wealth' as seem in the compound:
Arthashastra used as a title for Kautilya's treatise on
wealth-creation and polity. This meaning is consistent with the
word used for a polity: Rastram (lit. 'the firm, lighted path')
personified as divinity, vaak. Sphotavaada elaborates on
philosophical foundations of symbolic forms as media for
'meanings'. In Indian rhetoric tradition mudra refers to 'the
natural expression of things by words, calling things by their
right names' (Kuvalayaananda). It is an energetic seal of
authenticity. The gloss mudra also signifies a seal, stamp, or
impression made by a seal. Thus, by definition, the process of
'sealing' to create a 'seal impression' is an expression of words
deploying symbolic forms. To call things by their right names, a
rebus cipher with glosses of underlying glosses and related sounds
of Meluhha language are used. The semantics get expanded to evolve
mudra as a particular branch of education (e.g., reckoning by the
fingers). In Tantra 108 mudra are used; in Yoga, mudra are used
together with praanaayaama (breathing exercises) and aasana-s
("seated postures"). Natyashastra lists 24 asamyuta ("separated,"
meaning "one-hand and fingers") and 13 samyuta ("joined," meaning
"two-hand and fingers") mudra-s. A commentary on Hevajra Tantra
refers to symbolic bone ornaments as seals or mudra-s. (Sanskrit:
asthiamudra) In the entire corpora of Meluhha hieroglyphs there are
only two significant symbolic forms which may relate to
'veneration' or 'worship'. Even these two symbolic forms are read
rebus and are consistent with the archaeological context of working
with ores, minerals, metals and alloys as life-activities. One form
is of a person seated in a penance and is read rebus: kamadha
'penance' Rebus: kammata 'coiner, mint'. The second form is of a
pair of persons flanking a person seated in persons; the pair of
persons are shown using a mudra 'with folded hands - as
salutation'; this is called in Indian tradition anci- 'to
reverence' read rebus: anjana 'antimony' (Chemical symbol: Sb) This
is a sequel to Meluhha - tree of life which evaluated hieroglyphs
as sacred carvings incised, to convey rebus substantive messages in
Meluhha as we traverse, in a pilgrim's progress, through mists of
time into the Bronze Age. Language glosses tag to symbolic forms
and get associated with divinities and tree of life are Meluhha
sacred carvings; 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 tradition is a synonym of aagama
of Indian tradition with the roots found in Meluhha as a visible
language. Both traditions venerate altars as models of temples.
Many metal artifacts are shown as aayudha 'weapons' in the hands of
pratima in Indian iconographic tradition with an intimation of
memories of smithy traditions of ancestors. In Indian tradition.
Pratima lakshana, bimba reflections in a tranquil pool of
consciousness transform into stone or metal or wood hieroglyphs in
a temple. Pratima or mudra-s are not mere abstractions but firmly p
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