Deepti Bhal Mam Notes
A final e mute was often used to lengthen a vowel, as in English. Many names of places and persons retain p. 61 this e mute at the present day, and when the preceding vowel is a, educated persons generally give it the sound of the English long a in mane, but that is a change analogous to the modern vulgarism of pronouncing clerk as clurk instead of clark. This lesson speaks about who to tackle the disaster at different levels.what steps are needed to be taken before the disaster strikes, during the event of a disaster and post the disaster.
Hieroglyph: Black drongo bird: పోలడు pōlaḍu , పోలిగాడు or దూడలపోలడు pōlaḍu. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.)(Telugu) pasi pasi. పశుసమూహము, గోగణము. The smell of cattle, పశ్వాదులమీదిగాలి, వాసన. పసిపట్టు pasi-paṭṭu.
To scent or follow by the nose, as a dog does a fox. పసిగొను to trace out or smell out. మొసలి కుక్కను పసిపట్టి when the crocodile scented the dog.
పసులు pasulu. Cattle, గోవులు. పసిగాపు pasi-gāpu. A herdsman, గోపకుడు పసితిండి pasi-tinḍi. A tiger, పెద్దపులి.
పసులపోలిగాడు pasula-pōli-gāḍu. The Black Drongo or King crow, Dicrurusater. (F.B.I.) ఏట్రింత. Also, the Adjutant. తోకపసులపోలిగాడు the Raquet-tailed Drongo shrike. కొండ పనులపోలిగాడు the White bellied Drongo, Dicrurus coerulescens.
వెంటికపనుల పోలిగాడు the Hair-crested Drongo, Chibia hottentotta. టెంకిపనుల పోలిగాడు the larger Racket-tailed Drongo, Dissemurus paradiseus (F.B.I.) పసులవాడు pasula-vāḍu. A herdsman, గొల్లవాడు. 5. करण्ड, कारण्ड p=,3 m. a sort of duck vii, 31, 21 Rebus:करण्ड m. a sword karaḍā Hard from alloy-iron, silver &c.; The arrangement of bars or embossed lines (plain or fretted with little knobs) raised upon a तार of gold by pressing and driving it upon the अवटी or grooved stamp.
Such तार is used for the ornament बुगडी, for the hilt of a पट्टा or other sword &c. Applied also to any similar barform or line-form arrangement (pectination) whether embossed or indented; as the edging of a rupee &c.; kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch; kharaḍaṇēṃ v c To scrape or rub off roughly: also to abrade or graze. 2 To rub up; to grub up; to root out (grass, weeds &c.) by pushing the instrument along. 3 To shave roughly, to scrape: also to write roughly, to scrawl: also to jot or note down; to make brief memoranda: also to draw roughly; to plough roughly; to grind roughly &c. &c; also खरडें n A scrawl; a memorandum-scrap. The monument is a large rectangular block of limestone with a base of 51 by 30.5 cm and a height of 91 cm, or around 3 foot, with a broken top making it the tallest of the extant kudurrus and has intentionally flattened sides. It was recovered from the western bank of the opposite Baghdad and acquired by for the while on his 1873–74 expedition to sponsored by the.
It was originally given the collection reference D.T. 273 and later that of BM 90850. The face has three registers featuring eighteen symbolic representations of gods (listed below identifying the corresponding deity) and the back has three columns of text (line-art pictured right).
Dhāū, dhāv m.f. Soft red stone ʼ (whence dhā̆vaḍ m.
ʻ a caste of iron - smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. Of a red colour) ʼ; Pk.
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; (CDIAL 6773) धातु primary element of the earth i.e. Metal, mineral, ore ( esp. A mineral of a red colour) &c element of words i.e. Grammatical or verbal root or stem &c (with the southern Buddhists धातु means either the 6 elements see above xxv; or the 18 elementary spheres धातु-लोक ib.
Lviii; or the ashes of the body, relics cf.गर्भ) (Monier-Williams. Samskritam) Harappa ( Indus) script hieroglyphs signify dhAtu 'iron ore', Dharwar, Ib names of places in India in the iron ore belt. I then went to that festival in honour of Indra’s victory which took place after the Dānavas and the Asuras (enemies of the gods) were killed.
In this festival where jubilant gods assembled in great numbers I performed for their satisfaction the holy Benediction ( nāndi) consisting blessings with words in their eightfold aspects ( aṣṭānga, lit. Of eight limbs). Afterwards I devised an initiation of the situation in which the Daityas were defeated by gods (and), which represented (sometimes) an altercation and tumult and (sometimes) mutual cutting off and piercing (of limbs or bodies). Then Brahman as well as other gods were pleased with the performance and gave us all sorts of gifts as a token of joy that filled their mind.
First of all the pleased Indra ( Sakra) gave his auspicious banner, then Brahman a blacksmith's forge ( Kuṭilaka) and Varuṇa a golden pitcher ( bhṛngāra), Surya (the sun-god) gave an umbrella, Siva success ( siddhi), and Vāyu (the wind-god) a fan. Viṣṇu gave us a lion-seat ( simhāsana), Kuvera a crown, and the goddess Sarasvati gave visibility as well as audibility. (NOTE: कुटिलिका f. a tool used by a blacksmith 4-4, 18 कुटिल kuṭila, katthīl 'curve' kuṭila 'bent' (CDIAL 3230) Rebus: kuṭila ' bronze' (8 parts copper, 2 parts tin). Cylinder seal impression rendering Ea/Enki in a more 'CUBULAR' apsu/abzu 'sea House.'
Two Lahmu, naked except for a thong belt they wear, guard the portals. The two faced god is Izimud, Ea's vizier.
Ea holds in his had an irrigation pot with two streams of water (rivers?). He was the god who sent up freshwater for rivers from springs in the earth from his abzu house (for the below photo cf.
Diane Wolkenstein & Samuel Noah Kramer. Inanna, Queen of Heaven and Earth, Her Stories and Hymns From Sumer.
Harper & Row. ISBN 0-06-090854-8 paperback).
A n impression from an ancient cylinder seal of Ea/Enki standing within his rectangular abzu shrine or sea-house within the abyss (the underground freshwater ocean, or abzu/apsu). The schematized portals or door hinges to the shrine are guarded by two Lahmu 'hairy ones' naked except for a thong belt they wear. Note the wavy lines about the shrine symbolizing the watery abyss (for the photo cf. Piotr Bienkowski & Alan Millard. Dictionary of the Ancient Near East.
University of Pennsylvania Press. ISBN 0-8122-3557-6). रुद्र ap=,1 mfn. (prob.) crying, howling, roaring, dreadful, terrific, terrible, horrible (applied to the अश्विन् s, अग्नि, इन्द्र, मित्र, वरुण, and the स्प्/अशः ) ( accord.
To others ' red, shining, glittering ', fr. A √ रुद् or रुध् connected with रुधिर; others ' strong, having or bestowing strength or power ', fr. A √ रुद् = वृद्, वृध्; native authorities give also the following meanings, ' driving away evil '; ' running about and roaring ', fr. द्रु; ' praiseworthy, to be praised '; ' a praiser, worshipper ' = स्तोतृ iii, 16 ); m. ' Roarer or Howler ', N.
The ancient word which denoted such a metallic weapon is vajra in Rigveda, specifically described as Ayasam vajram, metallic weapon or metallic thunderbolt.I suggest that the association of the gloss vajra with lightning becomes a metaphor to further define vajrasangAta 'adamantine glue' which creates a steel metallic form with nanotubes or cementite.The samAsa used by Varahamihira is vajrasanghAta, an adamantine glue. In archaeometallurgical terms, this is defined as a mixture consisting of eight parts of lead, two of bell-metal and one of iron dust. Reference to thunderbolt weapon made of metal:त्वष्टा वज्रम् अतक्षद आयसम् मयि देवासो वृजन्नपि क्रतुम्मामानीकम् सूर्यस्ये वादुष्टरम् माम् आर्यन्ति कृत्येन कर्त्वेनचTranslation. Griffith: 3 For me hath forged the iron thunderbolt: in me the Gods have centred intellectual power.Translation: Sayana, Wilson: 10.048.03 For me Tvas.t.a fabricated the metal thunderbolt; in me the gods have concentrated pious acts; my lustre is insurmountable, like that of the Sun; men acknowledge me as lord in consequence of what I have done, and of what I shall do.
My lustre is the Sun: my army is hard to overcome, like the sun's lustre; anika = lit., face.2 He slew the lying on the mountain: his heavenly bolt of thunder fashioned. (RV 1.32.2).6 Even for him hath forged the thunder, most deftly wrought, celestial, for the battle,(RV 1.61.6)9 When deft of hand had turned the thunderbolt, golden, with thousand edges, fashioned(RV 1.85.9)10 Yea, Strong One! Turned for thee, the, the bolt with thousand spikes and hundred(RV 6.17.10)Tvastr the maker of divine instruments makes Vajra for Indra, notes Rigveda.'
Tvastr made it for him from the bones of the seer Dadhica: it is hundred-jointed, thousand-pointed.' ' Samudramanthanam narrative in Bhagavata Purana. 'The vajra is the Indian representative of the thunderbolt, and a comparison of corresponding ideas with other Indo-European peoples leads to the conclusion that even in the Indo-European period there was some idea of a vaguely personified independent wielder of the thunderbolt. With the Germanic tribes he became the 'Thunderer,' the porr of Old Norse mythology, in Hellas and Rome he was associated with Zeus-Jupiter, and in India he became Indra. But a vague recollection of his original independence had left its impression on the religious mind of the Aryans, and he was never quite absorbed by Indra.
Even in the Rigveda, our chief document for the period when Indra, rose to the rank of supreme god, we also find Rudra designated as vajrabahu (II, 33. 3); in the Atharvaveda Bhava and Sarva are asked to use their Vajra against evil-doers (IV.28.6), and Soma smites with the vajra (VI. 2), &c.; in the Bhagavatapurana (X. 20) Visnu wields the thunderbolt, and so forth.' 316-317 in, Sten Konow, Acta Orientalia, 1930. ' VajraThe Vajra, thunderbolt, which Usana Kavya is said to have fashioned, as also Tvastri in RV 1.32.2, was Indra's exclusive weapon and on account of his skill in wielding it, he is called in RV Vajrabhrit, bearing the bolt, Vajrivat, armed with the bolt. Vajradaksina, holding the bolt in his right hand, Vajrabahu or Vajrahasta, holding the Vajra in his hand, or Vajrin, armed with the bolt, which is the commoner epithet of them all.
Not much information about the shape of Vajra is available in the RV. However, it is said that it was made of iron, and that it belonged to the category of the weapons called the astras i.e.
Those weapons which are operated by throwing.In RV V.34.2 cited earlier where Uiani is said to have presented a weapon with thousand bhristis to Indra. Geldner has translated bhristis as spike. The meaning of the word, however, is doubtful.
It also occurs in RV 1.133.5 in the context of the picaci who is described as pisangabhristi. Geldner thinks that the weapon is Soma.JB 1.97 narrates the story of the birth of Vajra: The devas and the asuras were contesting. Those devas created a sharp-edged thunderbolt (which was) as if a man. (They through) him (? Tam) warded off the asuras. Having pushed them away, he returned to the devas. The devas were frightened.
They attacked him, and broke him into three. Broken into three, he remained the same.It seems likely that the vajra was similar to trisula. A double trisula is found on some of the Assyrian bas-reliefs see picture below: 4.0 Thunderbolts (vajras) in Mesopotamia, where it is depicted as having the three edges on each side with the handle in between.Before acquiring the thunderbolt, the devas and the asuras were fighting with the staves and bows ( dandairdhanubhisca) and did not succeed in defeating each other. Thereupon they started pairing the masculine and feminine words with a view to ending the battle conclusively.AiBr.
II.31 states in the ritual language the reason of the balance in the strength of the devas and the asuras: 'The Asuras performed at the sacrifice all that the Devas performed. The Asuras became thus of equal power (with the Devas) and did not yield to them (in any respect). Thereupon the Devas saw (by their mental eyes) the tusnim samsa i.e. Silent praise. The Asuras (not knowing it) did not perform this (ceremony) of the Devas. This 'silent praise' is the silent (latent) essence (of the mantras). Whatever weapon (Vajra) the Devas raised against the Asuras, the latter got aware of them.
The Devas then saw the silent praise as their weapon; they raised it, but the Asuras did not become aware of it. The Devas aimed it at the Asuras and defeated the latter who did not perceive (the weapon aimed at them). Thereupon the Devas became the masters of the Asuras.' 'This may simply be interpreted as suggesting that the asuras were alert every time they were attacked, but when taken unawares, they succumbed to the attack.The discussion of archaeological material shows that this original double trisula was transformed by the asuras into a weapon which could perform two kinds of functions. It could be thrown and could be held as well.' 'Source: Shendge, Malati J.: The civilized Demons: The Harappans in the Rigveda. 79-80.वज्रp=,1 a kind of hard mortar or cement ( कल्क) ( cf.
Vajradhara (Adi-Buddha) is he thunderbolt-bearer. Rdo-rje-hc'an 'he who holds a thunderbolt'; ocirdara (corruption of vajradhara), or Vacir bariqci (he who holds a thunderbolt); Symbols: vajra 'thunderbolt'; ghaNTa 'bell'; MudrA: vajra-hUmkAra. Colour: dark blue; S'akti: PrajnApaaramita; Other names: Karmavajra, dharmavajra. Vajradhara, the 'indestructible', lord of all mysteries, master of all secrets, is an exoteric representation of Adi-Buddha and in this form is believed to reign over the Eastern Quarter.Certain Lamaist sects identified Vajradhara with Vajrasattva, while others looked upon Vajrasattva as an active form of Vajradhara, who was too lost in divine quietude to occupy himself directly with the affairs of sentient beings.
Others again worshipped Vajradhara as a supreme deity distinct and apart from Vajrasattva.Vajradhara was thus looked upon as Adi-Buddha by the two greatest sects of the MahAyAna schoo; the dKar-hGya-pa (Red-caps) and the dGe-lugs-pa (Yellow-caps).He has the UrNA and ushNIsha. His arms are crossed on his breast in the vajrahUmkAra mudrA holding the vajra and ghaNTA. These two symbols may, however, be supported by flowering branches on either side, the stems being held in the crossed hands, which is his special mystical gesture.' (Getty, Alice, 1988, The gods of Northern Buddhism: their history and iconography, Courier Corporation;1914, Oxford, Clarendon Press, p.ix). Sivalinga, Lelei, Dist.Sundergarh. A full (Square base the (brahmabhaga), octagonal in the middle (vishnubhaga), cylindrical on top (rudrabhaga signifying the projecgting flame of the fiery pillar of light). I suggest that this is a signifier of wealth, nidhi, padma nidhi: tAmarasa 'lotus' rebus: tAmra 'copper'.
Sivapurana explains Lingodbhava in a variant narrative with Brahma (Hamsa) searching for the end of the pillar and Vishnu (Varaha) searching for bottom of the endless pillar of light, so depicted in the Mahesvara temple, Tiruvatturai. Lotus is the centerpiece on the top decorative ring. Bloomed lotus is carved as yonipitha, on the base of Sivalinga. Rebus: meḍ 'iron' (Ho.Mu.) Rebus: med. Iron, iron implements (Ho.) merhet ‘iron’; merhet icena ‘the iron is rusty’; ispat merhet ‘steel’, dul merhet ‘cast iron’; merhet khan.d.a ‘iron implements’ (Santali) ( Santali.lex.Bodding ) mer.ed, mer.ed iron; enga mer.ed soft iron; sand.i mer.ed hard iron; ispat mer.ed steel; dul mer.ed cast iron; i mer.ed rusty iron, also the iron of which weights are cast; bicamer.ed iron extracted from stone ore; balimer.ed iron extracted from sand ore; mer.ed-bica = iron stone ore, in contrast to bali-bica, iron sand ore ( Mu.lex.) pasra mer.ed, pasara mer.ed = syn. Of kot.e mer.ed = forged iron, in contrast to dul mer.ed, cast iron ( Mundari.lex.) mer.het iron; ispat m.
= steel; dul m. = cast iron; kolhe m. Iron manufactured by the Kolhes (Santali); mer.ed (Mun.d.ari); med. (Ho.)( Santali.lex.Bodding ) mer.het idena = the iron is rusty; dal mer.het = cast iron; mer.het khan.d.a = iron implements (Santali) Sa. MERhE’d `iron’.! MErhE’d `iron’.Mu.
MERE’d `iron’. mERE’d `iron’.! MENhEd(M).Ho meD `iron’.Bj.
Merhd(Hunter) `iron’.KW ). Two decorated bases and a lingam, Mohenjodaro.Tre-foil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35; Parpola, 1994.The sivalinga of Harappa are NOT octagonal. The hieroglyph of trefoil is an indicator of the metalwork related to the linga hieroglyph. Tri- dhAtu 'three strands of rope' Rebus: tri- dhAtu 'three minerals'. It is possible that the trefoil hieroglyph signified production of an alloy involving three minerals (dhAtu). Kailasanathaswamin Temple, Conjeevaram (After TA Gopinatha Rao, 1997, Elements of Hindu iconography, Vol.2, Pt.1, Delhi, Motilal Banarsidass, Plate XIII, Fig.1, p.
(After TA Gopinatha Rao, 1997, Elements of Hindu iconography, Vol.2, Pt.1, Delhi, Motilal Banarsidass, Plate XIV, Fig.2, p. Dasavatara cave, Ellora.
(After TA Gopinatha Rao, 1997, Elements of Hindu iconography, Vol.2, Pt.1, Delhi, Motilal Banarsidass, Plate XIV, Fig.1, p. 109)Shiva, Lingodbhava Story (Cave 16 Ellora)Lingodbhava, the god appears as a pillar of fire in the ocean; Brahma and Vishanu search its end and beginning.Lingodbhava.
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Swarga Brahma temple, Alampur, Andhra Pradesh.Siva Lingodbhavamurti. The Lingodbhavamurti, in which Siva is represented as Candrakasekhara emerging out of fiery Skambha Early Cola period (c. I submit that the most abiding form of worship is that which is displayed architecurally in Amaravati where Naga venerate the Skambha, the fiery pillar of light with the adornment of Srivatsa as the capital. The Srivatsa is a Indus Script hieroglyph of a pair of fish-tails: dula 'pair' Rebus: dul 'cast metal' Kur. xolā tail. Malt. qoli id. (DEDR 2135) The hooded snake which adorns as headgear is also read rebus: kula 'hooded snake' M. ʻ hooded cloak ʼ(CDIAL 3942) A.
Kulā ʻ winnowing fan, hood of a snake ʼ(CDIAL 3350) Rebus: kol 'working in iron' kolle 'blacksmith' kolhe 'smelters'. The iconographic signifiers of linga are consistent with the early semantics of linga which relate to: लिङ्गp=,3 n. (once m. in; ifc. F(आ)., f(ई).only in विष्णु-लिङ्गी; prob.
√ लग्; cf. लक्ष, लक्षण) a mark, spot, sign, token, badge, emblem, characteristic ( ifc. = तल्-लिङ्ग, ' having anything for a mark or sign ') &c. Linga as meaning 'organ of generation' occurs in &c. The context of Atharva Veda Skambha Sukta is NOT in reference to linga but as a pillar of light, jyotis or a लक्षण of light or fire. The linga as an Indus Script hieroglyph has been explained in the context of Candi Suku iconography of four balls at the tip of a 6 ft. Tall linga as a cipher for lokhāṇḍā, 'metal tools, pots and pans of copper'. Gopinatha Rao erroneously interprets s'is'na as non-aryans, phallus-worshippers 'The worship of the Phallus which the non-Aryans of India shared with other nations who inhabited on the borders of the Mediterranean sea, has survived in India to this day.
The Dhruvaberas in all Siva temples is the Linga surmounted upon the Yoni or the piNDika (pedestal). It is only in very rare instances we meet with the anthropomorphic representations of Siva set up as the principal deity in Siva temples. This non-Aryan phallic emblem seems to have been identified at a later period with Skambha of the Vedas, wherein Skambha is conceived as co-extensive with the universe and comprehends in him the various parts of the material universe, as also the abstract qualities, such as tapas, faith, truth and divisions of time.
He is distinct from Prajapati, who founds the universe upon him.The gods who form part of him do homage to him.' (pp.55-56 opcit.) This interpretation is based on the meaning given to s'is'na: शिश्न p= 1076,3 m. शिशन्; said to be fr.
√ श्नथ्, ' to pierce ') a tail, (esp.) the male generative organRV. 'Skambha in the beginning shed forth that gold (hiraNya, out of which HiraNyagarbha arose) in the midst of the world.' This passage in the Skambha Sukta of Atharva Veda DOES NOT 'pour forth his golden seen in begetting Prajapati' as interpreted wrongly by Gopinatha Rao but explains the term HiraNyagarbha in relation to Skambha. The word vetasa used in the Sukta refers to a reed and NOT to a membrum virile, vetasa does NOT refer to an identity of the Linga, as wrongly interpreted by Gopinatha Rao who further adds: 'At a later time a sort of philosophical clothing is given to the primitive Linga: by a section of scholars the LInga and its pedestal are viewed, with some justification, as the representation of the araNis, the two pieces of wood which were rubbed together by the Vedic Indian in making fire.' I submit that this view of Gopinatha Rao is speculative with no basis in philology or tradition.
Skambha is a pillar of light and fire and hence, the appellation Jyotirlinga given to the 12 holy sites of Siva temples in ancient India. Sudh in Javanese means 'thought'; Gangga sudhi (expression used on the Linga inscription of Candi-Sukuh) in Javanese literally means ' Mother-river thought'. The imagery of linga and 4 spheres is paralleled on a 1.82m.
Tall linga of Candi Sukuh temple together with an inscription in Javanese and hieroglyphs of: kris sword-blade flanked by hieroglyphs of sun and crescent-moon. The lingga has the feature that all of the phalluses on the temple have; balls ligatured just below the tip of the phallus. These are representative of a custom of the time, that Majapahit sculptors would have marble or gold balls implanted under the tip of the penis. On top of the Mt.Lawu fortification of Candi Sukuh stood this 1.82m. Metaphor: Sh. ʻ light, dawn ʼ; L.
Lō ʻ light ʼ; P. ʻ light, dawn, power of seeing, consideration ʼ; WPah.
ʻ light (e.g. Of moon) ʼ.(CDIAL 11120). + kaṇṭa 'manliness'. Metaphorical rendering of the effulgence (sun and moon) associated with the pillar of light yielding the imagery of an representation of a fiery pillar with unfathomable beginning, unreachable end, thus of infniity of Mahadeva representing the paramaatman for the aatman in search of nihs'reyas (moksha), from Being to Becoming, the way earth and stones transmute into metal in the smelter and smithy, kole.l 'smithy, temple'. The gloss gaṇḍu ' manliness' (Kannada); 'bravery, strength' (Telugu) is a synonym of the expression on Candi Suku linga inscription: 'sign of masculinity is the essence of the world'.
Thus, the gloss lo khaṇḍa which is a direct Meluhha speech form related to the hieroglyph composition on Candi Suku inscription is the sign of masculinity. The rebus renderings of khandoba or kandariya mahadeva are elucidations of the rebus gloss: kaṇḍa, 'mahadeva S'iva or mahes'vara.'
The hieroglyphs deployed on the 1.82m. Tall stone sculpture of linga with the inscription and hieroglyphs of sword, sun, moon and four balls deployed just below the tip of the phallus are thus explained as Meluhha speech: lo khaṇḍa. The rebus rendering of the phrase is: lo 'light' and kaṇṭa 'manliness'. These attributes constitute the effulgence of the linga as the fiery pillar, skambha venerated in Atharva Veda Skambha sukta as the cosmic effulgence as the cosmic essence. लोखंडी lōkhaṇḍī a (लोखंड) Composed of iron; relating to iron. लोखंड lōkhaṇḍa n ( लोह S) Iron. लोखंडाचे चणे खावविणें or चारणें To oppress grievously.
लोखंडकाम lōkhaṇḍakāma n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.लोखंडी lōkhaṇḍī a ( लोखंड) Composed of iron; relating to iron. Hardy or hard-a constitution or a frame of body, one's हाड or natal bone or parental stock. 3 Close and hard;-used of kinds of wood.
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4 Ardent and unyielding-a fever. 5 लोखंडी, in the sense Hard and coarse or in the sense Strong or enduring, is freely applied as a term of distinction or designation. Examples follow.लोखंडी lōkhaṇḍī f ( लोखंड) An iron boiler or other vessel. 2 A large scandent shrub, Ventilago Maderaspatana.
Grah.लोखंडी काव lōkhaṇḍī kāva f A red ochre or earth.लोखंडी चुना lōkhaṇḍī cunā m A term for strong and enduring chunam-work.लोखंडी छाप lōkhaṇḍī chāpa m (Iron type.) A term, according to popular apprehension, for Leaden types and for Printing; in contrad. From दगडछाप Lithography.लोखंडी जर lōkhaṇḍī jara m ( लोखंड & जर) False brocade or lace; lace &c. Made of iron.The 1.8 metre lingga of Candi Sukuh has four such balls and also has an inscription (representing the vein of the phallus) that reads: ‘Consecration of the Holy Gangga sudhi in the sign of masculinity is the essence of the world’. 2.023.01 We invoke the Brahman.aspati, chief leaderof the (heavenly) bands; a sage of sage; abounding beyond measure in (every kind of) food; best lord of prayer; hearing our invocations, come with your protections, and sit down in the chamber of sacrifice.
Brahman.aspati = brahman.o annasya parivr.d.hasya karman.o va palayita, the protector or cherisher of food,or of any great or solemn acts of devotion; he has other attributes in the text, as, gan.anam gan.apatih, chief of the gan.as (inferior deities); jyes.t.harajam brahman.am, the best lord of mantras, or prayers: pras'asyam svaminam mantran.am.2.023.02 Br.haspati, destroyer of the asuras, through you the intelligent gods have obtained the sacrificial portion; in like manner as the adorable sun generates the (solar) rays by his radiance, so are you the generator of all prayers. WE call thee, and Leader of the heavenly hosts, the wise among the wise, the famousest of all, The supreme of prayers, O: hear us with help; sit down in place of sacrifice. 2, God immortal!